THE  GETTY  PROVENANCE  INDEX 


By  BERNHARD  BERENSON. 


Lorenzo  Lotto.  An  Essay  in  Constructive  Art 
Criticism.  With  30  full-page  illustrations  from 
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with  his  subject  is  infinitely  great.”—  The  Nation. 

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The  Venetian  Painters  of  the  Renaissance, 
with  an  Index  to  their  Works.  Third  Edition, 

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G.  P.  PUTNAM’S  SONS 

NEW  YORK  & LONDON 


I 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/venetianpainters00bere_1 


The  Man  with  the  Glove . By  Titian. 

Picture  in  the  Louvre,  Paris. 


THE  VENETIAN  PAINTERS 
OF  THE  RENAISSANCE 

With  an  Index  to  Their  Works 


BY 

BERNHARD  BERENSON 


THIRD  EDITION 


WITH  TWENTY-FOUR  PHOTOGRAVURE  ILLUSTRATIONS 


G.  P.  PUTNAM'S  SONS 

NEW  YORK  AND  LONDON 
Gbe  Hmfcfterbocker  f>r ees 

1897 


&2) 


Copyright,  1894 

BY 

G.  P.  PUTNAM’S  SONS 
Entered  at  Stationers’  Hall,  London 


Zbe  Iknicherbocfeer  press,  Hew  H?orft 


PREFACE  TO  THE  ILLUSTRATED  EDITION 


THIS  is  a reprint  of  the  Third  Edition,  but 
a fair  number  of  new  items  will  be  found 
in  the  lists.  Two,  at  least,  of  these  ad- 
ditions are  of  such  importance,  that  I could 
have  wished  to  publish  them  with  all  those 
elaborate  comparisons  and  proofs  supposed 
to  bring  conviction  to  the  unprejudiced  mind. 
But  as  publications  of  this  nature  are  of  almost 
no  value  unless  accompanied  by  reproductions 
of  the  works  of  art  discussed,  and  as  photo- 
graphs are  not  readily  obtained  from  owners 
for  the  purpose  of  “belittling”  their  pictures, 
I have  had  to  resign  myself  to  publishing  my 
opinions  here  in  the  Lists  of  Painters.  The 
two  works  to  which  I refer  are  the  Duke  of 
Northumberland’s  “ Bacchanal  ” and  Mr.  Ralph 
Banks’s  “Judgment  of  Solomon.”  The  first 
has  thus  far  passed  unquestioned  as  the  last 
great  achievement  of  Giovanni  Bellini.  I think 
I could  demonstrate  that  there  is  no  touch  of 

iii 


iv  Preface  to  Illustrated  Edition 

Giambellino  in  this  “ Feast  of  the  Gods.”  Ex- 
ecuted, probably,  in  the  great  master’s  studio, 
and  passing  from  the  start  for  his  own  work, 
it  is,  nevertheless,  except  for  the  landscape,  a 
creation  of  the  brain  and  hand  of  Marco  Ba- 
saiti.  The  landscape  is  supposed  to  have  been 
added  later  by  Titian,  but  here  also  I find  my- 
self unable  to  agree  with  received  opinion,  for 
to  me  the  background  seems  the  production 
not  of  Titian  himself,  but  of  an  assistant  in  his 
shop.  The  scarcely  less  famous  picture  be- 
longing to  Mr.  Banks  is  by  the  hand  which 
painted  the  “ Christ  and  Adulteress,”  of  the 
Glasgow  Corporation  Gallery,  and  that  hand 
is  Giovanni  Cariani’s.  I repeat,  I would  have 
preferred  to  publish  opinions  so  divergent  from 
those  universally  received,  in  a form  adequate 
to  the  importance  of  the  theme  ; but  I console 
myself  with  the  belief  that  the  merest  indica- 
tion suffices  the  competent.  As  for  the  others 
— Procul  o procul  esle,  profani. 

In  the  matter  of  illustrations,  my  task  has 
ended  with  the  choice  of  the  subjects.  It  has 
been  my  purpose  to  select  from  among  the 
masterpieces  of  which  negatives  could  be  ob- 
tained, those  which,  while  being  the  best  in 
quality  and  most  representative  of  the  school, 


Preface  to  Illustrated  Edition  v 

were,  at  the  same  time,  most  likely  to  yield 
good  reproductions. 

My  best  thanks  are  due  to  Mrs.  J.  L.  Gard- 
ner, of  Boston,  for  a negative  of  Titian’s  “ Eu- 
ropa.” 

B.  B. 


S.  Moritz,  August,  1897, 


NOTE  TO  THIRD  EDITION. 


IN  this  edition  changes  have  been  made  in 
the  numbering  of  the  Venice  and  Vienna 
Galleries,  as  well  as  of  some  minor  collec- 
tions, to  correspond  to  recent  rehanging.  Many 
other  alterations  have  been  required  by  the 
breaking  up  of  private  collections.  In  several 
instances  it  has  been  impossible  to  trace  pic- 
tures to  their  new  homes,  and  of  such  the 
more  important  remain  under  the  names  of 
their  former  owners.  To  the  lists  of  painters 
have  been  added  Beccaruzzi,  Caprioli,  Polidoro 
Lanzani,  Rocco  Marconi,  Andrea  Schiavone, 
and  Girolamo  da  Treviso,  artists  important 
enough  to  be  missed,  but  of  merit  so  unequal 
that  only  their  more  interesting  works  are  here 
given.  But  the  bulk  of  new  additions,  amount- 
ing to  a third  as  much  again  as  was  comprised 
in  the  last  edition,  is  of  pictures  in  the  various 
provincial  galleries  and  private  collections  of 
Great  Britain,  France,  and  Germany. 


vn 


Vlll 


Note  to  Third  Edition 


The  author  takes  great  pleasure  in  acknowl- 
edging his  indebtedness  to  Mr.  Herbert  F. 
Cook  for  invaluable  aid  in  visiting  some  of  the 
almost  numberless  British  collections. 


PREFACE. 


THE  following  essay  owes  its  origin  to  the 
author’s  belief  that  Venetian  painting  is 
the  most  complete  expression  in  art  of  the 
Italian  Renaissance.  The  Renaissance  is  even 
more  important  typically  than  historically. 
Historically  it  may  be  looked  upon  as  an  age 
of  glory  or  of  shame  according  to  the  different 
views  entertained  of  European  events  during 
the  past  five  centuries.  But  typically  it  stands 
for  youth,  and  youth  alone — for  intellectual 
curiosity  and  energy  grasping  at  the  whole  of 
life  as  material  which  it  hopes  to  mould  to  any 
shape. 

Every  generation  has  an  innate  sympathy 
with  some  epoch  of  the  past  wherein  it  seems 
to  find  itself  foreshadowed.  Science  has  of  late 
revealed  and  given  much,  but  its  revelation  and 
gifts  are  as  nothing  to  the  promise  it  holds  out 
of  constant  acquisition  and  perpetual  growth, 
of  everlasting  youth.  We  ourselves,  because  of 


lx 


X 


Preface 


our  faith  in  science  and  the  power  of  work, 
are  instinctively  in  sympathy  with  the  Renais- 
sance. Our  problems  do  not  seem  so  easy  to 
solve,  our  tasks  are  more  difficult  because  our 
vision  is  wider,  but  the  spirit  which  animates 
us  was  anticipated  by  the  spirit  of  the  Renais- 
sance, and  more  than  anticipated.  That  spirit 
seems  like  the  small  rough  model  after  which 
ours  is  being  fashioned. 

Italian  painting  interests  many  of  us  more 
than  the  painting  of  any  other  school  not  be- 
cause of  its  essential  superiority,  but  because 
it  expressed  the  Renaissance ; and  Venetian 
painting  is  interesting  above  all  because  it  was 
at  Venice  alone  that  this  expression  attained 
perfection.  Elsewhere,  particularly  in  Florence, 
it  died  away  before  it  found  complete  utter- 
ance. 

In  order  to  keep  the  main  idea  clearly  be- 
fore the  mind  of  the  reader,  to  show  him  how 
the  Renaissance  reveals  itself  in  Venetian 
painting,  the  introduction  of  anything  not 
strictly  relevant  to  the  subject  has  been 
avoided.  The  salient  points  once  perceived 
and  connected  with  the  more  important 
painters,  the  reader  will  find  no  difficulty  in 
seeing  the  proper  place  of  any  given  work  by 


Preface 


XI 


a great  master,  or  the  relative  importance  of 
those  second-  and  third-rate  painters  of  whom 
no  special  mention  has  been  made  because  they 
are  comprised  within  what  has  been  said  about 
the  greater  artists. 

But  happily  art  is  too  great  and  too  vital  a 
subject  to  be  crowded  into  any  single  formula ; 
and  a formula  that  would,  without  distorting 
our  entire  view  of  Italian  art  in  the  fifteenth 
century,  do  full  justice  to  such  a painter  as 
Carlo  Crivelli,  does  not  exist.  He  takes  rank 
with  the  most  genuine  artists  of  all  times  and 
countries,  and  does  not  weary  even  when 
“great  masters  ” grow  tedious.  He  expresses 
with  the  freedom  and  spirit  of  Japanese  design 
a piety  as  wild  and  tender  as  Jacopo  da  Todi’s, 
a sweetness  of  emotion  as  sincere  and  dainty 
as  of  a Virgin  and  Child  carved  in  ivory  by  a 
French  craftsman  of  the  fourteenth  century. 
The  mystic  beauty  of  Simone  Martini,  the 
agonised  compassion  of  the  young  Bellini,  are 
embodied  by  Crivelli  in  forms  which  have  the 
strength  of  line  and  the  metallic  luster  of  old 
Satsuma  or  lacquer,  and  which  are  no  less 
tempting  to  the  touch.  Crivelli  must  be 
treated  by  himself  and  as  the  product  of  sta- 
tionary, if  not  reactionary,  conditions.  Having 


Xll 


Preface 


lived  most  of  his  life  far  away  from  the  main 
currents  of  culture,  in  a province  where  St. 
Bernardino  had  been  spending  his  last  energies 
in  the  endeavour  to  call  the  world  back  to  the 
ideals  of  an  infantile  civilisation,  Crivelli  does 
not  belong  to  a movement  of  constant  progress, 
and  therefore  is  not  within  the  scope  of  this 
work. 

To  make  the  essay  useful  as  a handbook  to 
Venetian  painting,  lists  have  been  appended  of 
the  works,  in  and  out  of  Italy,  by  the  principal 
Venetian  masters.  These  lists  do  not  pretend 
to  absolute  completeness.  Only  such  private 
collections  have  been  mentioned  as  are  well 
known  and  accessible  to  students,  although  in 
the  case  of  very  rare  painters  all  of  their  known 
works  are  given,  and  even  such  as  are  of  doubt- 
ful authenticity  are  alluded  to.  The  author 
has  seen  and  carefully  considered  all  the  pict- 
ures he  mentions,  except  one  or  two  at  St. 
Petersburg,  which  are,  however,  well  known 
from  the  photographs  of  MM.  Braun  & Cie. 
The  attributions  are  based  on  the  results  of  the 
most  recent  research.  Even  such  painstaking 
critics  of  some  years  ago  as  Messrs.  Crowe  and 
Cavalcaselle  laboured  under  terrible  disadvan- 
tages, because  most  of  their  work  was  done  at 


Preface 


xm 


a time  when  travelling  was  much  slower  than 
it  has  now  become,  and  when  photography 
was  not  sufficiently  perfected  to  be  of  great 
service.  Rapid  transit  and  isochromatic  pho- 
tography are  beginning  to  enable  the  student 
to  make  of  connoisseurship  something  like  an 
exact  science.  To  a certain  extent,  therefore, 
Messrs.  Crowe  and  Cavalcaselle  have  been 
superseded,  and  to  a great  degree  supple- 
mented by  the  various  writings  of  Morelli, 
Richter,  Frizzoni,  and  others.  The  author  takes 
pleasure  in  acknowledging  his  indebtedness  to 
the  first  systematic  writers  on  Italian  painting 
no  less  than  to  the  perfectors  of  the  new  criti- 
cal method,  now  adopted  by  nearly  all  seri- 
ous students  of  Italian  art.  To  the  founder 
of  the  new  criticism,  the  late  Giovanni  Morelli, 
and  to  his  able  successor,  Dr.  Gustavo  Frizzoni, 
the  author  feels  bound  to  ascribe  many  of  his 
attributions,  although  a number  are  based  on 
independent  research,  and  for  these  he  alone  is 
responsible. 


NOTE 

The  author  desires  to  explain  that  his  work  has  been 
done  at  a distance  of  some  thousands  of  miles  from  the 
printing  office , and  that  he  has  therefore  been  unable  him- 
self to  read  the  proofs  of  the  pages  containing  the  Indices. 


November  i , 1897. 


CONTENTS 

THE  VENETIAN  PAINTERS  OF  THE  RENAISSANCE 

INDEX  TO  THE  WORKS  OF  THE  PRINCIPAL  VE- 
NETIAN PAINTERS 

INDEX  OF  PLACES 


PAGE 

I 

71 

145 


XV 


ILLUSTRATIONS. 


PAGE 

The  Man  with  the  Glove.  By  Titian  . . Frontispiece 

Picture  in  the  Louvre,  Paris. 

Virgin  and  Infant  Jesus.  By  Giovanni  Bellini  . . 6 

Picture  in  the  Brera,  Milan. 

Madonna  in  Ecstasy.  By  Crivelli  . . . .12 

Picture  in  the  National  Gallery,  London. 

St.  Giustina  dei  Borromei.  By  Alvise  Vivarini  . . 18 

Picture  in  the  Collection  of  Signor  Bagati-Valsecchi,  Milan. 

Portrait  of  a Monk.  By  Gentile  Bellini  ...  24 

Picture  in  the  National  Gallery,  London. 

Portrait  of  a Man.  By  Jacopo  di  Barbari  ...  30 

Picture  in  the  Imperial  Gallery,  Vienna. 

Portrait  of  a Young  Man.  By  Giorgione  ...  36 

Picture  in  the  Royal  Gallery,  Berlin. 

Portrait  of  a Young  Roman  Lady.  By  Sebastiano  del 

PlOMBO 42 

Picture  in  the  Royal  Gallery,  Berlin. 

Portrait  of  a Lady  {not finished).  By  Palma  . . 48 

Picture  in  the  Quirini-Stampali  Gallery,  Venice. 


XV111 


Illustrations 


PAGE 

Portrait  of  Laura  di  Pola.  By  Lotto  ....  54 

Picture  in  the  Brera,  Milan. 

St.  Jerome  in  His  Study.  By  Antonello  da  Messina  . 60 

Picture  in  National  Gallery,  London. 

The  Dream  of  St.  Ursula.  By  Carpaccio  ...  66 

Picture  in  the  Academy,  Venice. 

Allegorical  Representation  of  Venus.  By  Giovanni 

Bellini 72 

Picture  in  the  Academy,  Venice. 

Apollo  and  Marsyas.  By  Cima 78 

Picture  in  the  Gallery,  Parma. 

A Young  Woman  at  Her  Toilet.  By  Bissolo  . . 84 

Picture  in  the  Imperial  Gallery,  Vienna. 

Gipsy  and  Soldier.  By  Giorgione 92 

Picture  in  the  Giovanelli  Palace,  Venice. 

Warrior  Adoring  Infant  Christ.  By  Catena  . . 100 

Picture  in  the  National  Gallery,  London. 

Jacob  and  Rachel.  By  Palma  Vecchio  . . . .108 

Picture  in  the  Royal  Gallery,  Dresden. 

Bacchus  and  Ariadne.  By  Titian 116 

Picture  in  the  National  Gallery,  London. 

Europa.  By  Titian 124 

Picture  in  the  Collection  of  Mrs.  J.  L.  Gardner,  Boston,  U.  S.  A. 

The  Rich  Man’s  Feast.  Bonifazio  Veronese  . . . 132 

Picture  in  the  Academy,  Venice. 


Illustrations 


XIX 


St.  George  and  the  Dragon.  By  Paris  Bordone  . 

Picture  in  the  Vatican,  Rome. 

St.  George  and  the  Dragon.  By  Tintoretto 

Picture  in  the  National  Gallery,  London. 

The  Presentation  of  the  Virgin.  By  Tintoretto  . 

Picture  in  S.  Maria  dell’  Orto,  Venice. 


PAGE 

. 140 

• M8 

. 10 


THE  VENETIAN  PAINTERS  OF 
THE  RENAISSANCE 

AMONG  the  Italian  schools  of  painting  the 
Venetian  has,  for  the  majority  of  art- 
loving  people,  the  strongest  and  most 
enduring  attraction.  In  the  course  of  the  pre- 
sent brief  account  of  the  life  of  that  school  we 
shall  perhaps  discover  some  of  the  causes  of 
our  peculiar  delight  and  interest  in  the  Vene- 
tian painters,  as  we  come  to  realise  what  tend- 
encies of  the  human  spirit  their  art  embodied, 
and  of  what  great  consequence  their  example 
has  been  to  the  whole  of  European  painting 
for  the  last  three  centuries. 

The  Venetians  as  a school  were  from  the 
first  endowed  with  exquisite  tact  in  their  use 
of  colour.  Seldom  cold  and  rarely  too  warm, 
their  colouring  never  seems  an  afterthought, 
as  in  many  of  the  Florentine  painters,  nor  is 
it  always  suggesting  paint,  as  in  some  of  the 
Veronese  masters.  When  the  eye  has  grown 


2 


Works  of 


accustomed  to  make  allowance  for  the  darken- 
ing caused  by  time,  for  the  dirt  that  lies  in 
layers  on  so  many  pictures,  and  for  unsuccess- 
ful attempts  at  restoration,  the  better  Venetian 
paintings  present  such  harmony  of  intention 
and  execution  as  distinguishes  the  highest 
achievements  of  genuine  poets.  Their  mastery 
over  colour  is  the  first  thing  that  attracts  most 
people  to  the  painters  of  Venice.  Their  colour- 
ing not  only  gives  direct  pleasure  to  the  eye, 
but  acts  like  music  upon  the  moods,  stimulating 
thought  and  memory  in  much  the  same  way  as 
a work  by  a great  composer. 

The  Church  from  the  first  took  account  of  the 
influence  of  colour  as  well  as  of  music  upon  the 
emotions.  From  the  earliest  times  it  employed 
mosaic  and  painting  to  enforce  its  dogmas  and 
relate  its  legends,  not  merely  because  this  was 
the  only  means  of  reaching  people  who  could 
neither  read  nor  write,  but  also  because  it  in- 
structed them  in  a way  which,  far  from  leading 
to  critical  enquiry,  was  peculiarly  capable  of 
being  used  as  an  indirect  stimulus  to  moods 
of  devotion  and  contrition.  Next  to  the  finest 
mosaics  of  the  first  centuries,  the  early  works 
of  Giovanni  Bellini,  the  greatest  Venetian 
master  of  the  fifteenth  century,  best  fulfil  this 


The  Venetian  Painters 


6 


religious  intention.  Painting  had  in  his  life- 
time reached  a point  where  the  difficulties  of 
technique  no  longer  stood  in  the  way  of  the 
expression  of  profound  emotion.  No  one  can 
look  at  Bellini’s  pictures  of  the  Dead  Christ 
upheld  by  the  Virgin  or  angels  without  being 
put  into  a mood  of  deep  contrition,  nor  at  his 
earlier  Madonnas  without  a thrill  of  awe  and 
reverence.  And  Giovanni  Bellini  does  not 
stand  alone.  His  contemporaries,  Gentile 
Bellini,  the  Vivarini,  Crivelli,  and  Cima  da 
Conegliano  all  began  by  painting  in  the  same 
spirit,  and  produced  almost  the  same  effect. 

The  Church,  however,  thus  having  educated 
people  to  understand  painting  as  a language 
and  to  look  to  it  for  the  expression  of  their 
sincerest  feelings,  could  not  hope  to  keep  it 
always  confined  to  the  channel  of  religious 
emotion.  People  began  to  feel  the  need  of 
painting  as  something  that  entered  into  their 
everyday  lives  almost  as  much  as  we  nowadays 
feel  the  need  of  the  newspaper ; nor  was  this 
unnatural,  considering  that,  until  the  invention 
of  printing,  painting  was  the  only  way,  apart 
from  direct  speech,  of  conveying  ideas  to  the 
masses.  At  about  the  time  when  Bellini  and 
his  contemporaries  were  attaining  maturity,  the 


4 


Works  of 


Renaissance  had  ceased  to  be  a movement  car- 
ried on  by  scholars  and  poets  alone.  It  had 
become  sufficiently  widespread  to  seek  popular 
as  well  as  literary  utterance,  and  thus,  toward 
the  end  of  the  fifteenth  century,  it  naturally 
turned  to  painting,  a vehicle  of  expression 
which  the  Church,  after  a thousand  years  of 
use,  had  made  familiar  and  beloved. 

To  understand  the  Renaissance  at  the  time 
when  its  spirit  began  to  find  complete  embodi- 
ment in  painting,  a brief  survey  of  the  move- 
ment of  thought  in  Italy  during  its  earlier 
period  is  necessary,  because  only  when  that 
movement  had  reached  a certain  point  did 
painting  come  to  be  its  most  natural  medium 
of  expression. 

The  thousand  years  that  elapsed  between  the 
triumph  of  Christianity  and  the  middle  of  the 
fourteenth  century  have  been  not  inaptly  com- 
pared to  the  first  fifteen  or  sixteen  years  in  the 
life  of  the  individual.  Whether  full  of  sorrows 
or  joys,  of  storms  or  peace,  these  early  years  are 
chiefly  characterised  by  tutelage  and  uncon- 
sciousness of  personality.  But  toward  the  end 
of  the  fourteenth  century  something  happened 
in  Europe  that  happens  in  the  lives  of  all  gifted 
individuals.  There  was  an  awakening  to  the 


The  Venetian  Painters 


5 


sense  of  personality.  Although  it  was  felt  to 
a greater  or  less  degree  everywhere,  Italy  felt 
the  awakening  earlier  than  the  rest  of  Europe, 
and  felt  it  far  more  strongly.  Its  first  manifest- 
ation was  a boundless  and  insatiable  curiosity, 
urging  people  to  find  out  all  they  could  about 
the  world  and  about  man.  They  turned  eagerly 
to  the  study  of  classic  literature  and  ancient 
monuments,  because  these  gave  the  key  to 
what  seemed  an  immense  storehouse  of  for- 
gotten knowledge  ; they  were  in  fact  led  to 
antiquity  by  the  same  impulse  which,  a little 
later,  brought  about  the  invention  of  the  print- 
ing-press and  the  discovery  of  America. 

The  first  consequence  of  a return  to  classical 
literature  was  the  worship  of  human  great- 
ness. Roman  literature,  which  the  Italians  nat- 
urally mastered  much  earlier  than  Greek,  dealt 
chiefly  with  politics  and  war,  seeming  to  give  an 
altogether  disproportionate  place  to  the  indi- 
vidual, because  it  treated  only  of  such  individ- 
uals as  were  concerned  in  great  events.  It  is 
but  a step  from  realising  the  greatness  of  an 
event  to  believing  that  the  persons  concerned 
in  it  were  equally  great,  and  this  belief,  fost- 
ered by  the  somewhat  rhetorical  literature  of 
Rome,  met  the  new  consciousness  of  person- 


6 


Works  of 


ality  more  than  half  way,  and  led  to  that  un- 
limited admiration  for  human  genius  and 
achievement  which  was  so  prominent  a feature 
of  the  early  Renaissance.  The  two  tendencies 
reacted  upon  each  other.  Roman  literature 
stimulated  the  admiration  for  genius,  and  this 
admiration  in  turn  reinforced  the  interest  in  that 
period  of  the  world’s  history  when  genius  was 
supposed  to  be  the  rule  rather  than  the  excep- 
tion ; that  is  to  say,  it  reinforced  the  interest 
in  antiquity. 

The  spirit  of  discovery,  the  never  satisfied 
curiosity  of  this  time,  led  to  the  study  of  ancient 
art  as  well  as  of  ancient  literature,  and  the  love 
of  antiquity  led  to  the  imitation  of  its  buildings 
and  statues  as  well  as  of  its  books  and  poems. 
Until  comparatively  recent  times  scarcely  any 
ancient  paintings  were  found,  although  build- 
ings and  statues  were  everywhere  to  be  seen, 
the  moment  anyone  seriously  thought  of  look- 
ing at  them.  The  result  was  that  while  the 
architecture  and  sculpture  of  the  Renaissance 
were  directly  and  strongly  influenced  by  an- 
tiquity, painting  felt  its  influence  only  in  so  far 
as  the  study  of  antiquity  in  the  other  arts  had 
conduced  to  better  draughtsmanship  and  purer 
taste.  The  spirit  of  discovery  could  thus  show 


Virgin  and  Infant  Jesus . By  Giovanni  Bellini . 

Picture  in  the  Brer  a,  Milan . 


/ 


The  Venetian  Painters 


7 


itself  only  indirectly  in  painting, — only  in  so 
far  as  it  led  painters  to  the  gradual  perfection 
of  the  technical  means  of  their  craft. 

Unlimited  admiration  for  genius  and  wonder 
that  the  personalities  of  antiquity  should  have 
survived  with  their  great  names  in  no  way 
diminished,  soon  had  two  consequences.  One 
was  love  of  glory,  and  the  other  the  patronage 
of  those  arts  which  were  supposed  to  hand 
down  a glorious  name  undiminished  to  poster- 
ity. The  glory  of  old  Rome  had  come  down 
through  poets  and  historians,  architects  and 
sculptors,  and  the  Italians,  feeling  that  the 
same  means  might  be  used  to  hand  down  the 
achievements  , of  their  own  time  to  as  distant  a 
posterity,  made  a new  religion  of  glory,  with 
poets  and  artists  for  the  priests.  At  first  the 
new  priesthood  was  confined  almost  entirely  to 
writers,  but  in  little  more  than  a generation 
architects  and  sculptors  began  to  have  their 
part.  The  passion  for  building  is  in  itself  one 
of  the  most  instinctive,  and  a man’s  name  and 
armorial  bearings,  tastefully  but  prominently 
displayed  upon  a church  or  palace,  were  as 
likely,  it  was  felt,  to  hand  him  down  to  pos- 
terity as  the  praise  of  poets  or  historians.  It 
was  the  passion  for  glory,  in  reality,  rather  than 


8 


Works  of 


any  love  of  beauty,  that  gave  the  first  impulse 
to  the  patronage  of  the  arts  in  the  Renaissance. 
Beauty  was  the  concern  of  the  artists,  although 
no  doubt  their  patrons  were  well  aware  that 
the  more  impressive  a building  was,  the  more 
beautiful  a monument,  the  more  likely  was  it  to 
be  admired,  and  the  more  likely  were  their 
names  to  reach  posterity.  Their  instincts  did 
not  mislead  them,  for  where  their  real  achieve- 
ments would  have  tempted  only  the  specialist 
or  antiquarian  into  a study  of  their  career,  the 
buildings  and  monuments  put  up  by  them — by 
such  princes  as  Sigismondo  Malatesta,  Fred- 
erick of  Urbino,  or  Alfonzo  of  Naples, — have 
made  the  whole  intelligent  public  believe  that 
they  were  really  as  great  as  they  wished  pos- 
terity to  believe  them. 

As  painting  had  done  nothing  whatever  to 
transmit  the  glory  of  the  great  Romans,  the 
earlier  generations  of  the  Renaissance  expected 
nothing  from  it,  and  did  not  give  it  that  patron- 
age which  the  Church,  for  its  own  purposes, 
continued  to  hold  out  to  it.  The  Renaissance 
began  to  make  especial  use  of  painting  only 
when  its  own  spirit  had  spread  very  widely,  and 
when  the  love  of  knowledge,  of  power,  and  of 
glory  had  ceased  to  be  the  only  recognised 


The  Venetian  Painters 


9 


passions,  and  when,  following  the  lead  of  the 
Church,  people  began  to  turn  to  painting  for 
the  expression  of  deep  emotion.  The  new  re- 
ligion, as  I have  called  the  love  of  glory,  is  in 
its  very  essence  a thing  of  this  world,  founded 
as  it  is  on  human  esteem.  The  boundless 
curiosity  of  the  Renaissance  led  back  inevitably 
to  an  interest  in  life  and  to  an  acceptance  of 
things  for  what  they  were, — for  their  intrinsic 
quality.  The  moment  people  stopped  looking 
fixedly  toward  heaven  their  eyes  fell  upon  the 
earth,  and  they  began  to  see  much  on  its  sur- 
face that  was  pleasant.  Their  own  faces  and 
figures  must  have  struck  them  as  surprisingly 
interesting,  and,  considering  how  little  St.  Ber- 
nard and  other  mediaeval  saints  and  doctors 
had  led  them  to  expect,  singularly  beautiful. 
A new  feeling  arose  that  mere  living  was  a big 
part  of  life,  and  with  it  came  a new  passion, 
the  passion  for  beauty,  for  grace,  and  for 
comeliness. 

It  has  already  been  suggested  that  the  Re- 
naissance was  a period  in  the  history  of  modern 
Europe  comparable  to  youth  in  the  life  of  the 
individual.  It  had  all  youth’s  love  of  finery 
and  of  play.  The  more  people  were  imbued 
with  the  new  spirit,  the  more  they  loved 


IO 


Works  of 


pageants.  The  pageant  was  an  outlet  for  many 
of  the  dominant  passions  of  the  time,  for  there 
a man  could  display  all  the  finery  he  pleased, 
satisfy  his  love  of  antiquity  by  masquerading 
as  Caesar  or  Hannibal,  his  love  of  knowledge 
by  finding  out  how  the  Romans  dressed  and 
rode  in  triumph,  his  love  of  glory  by  the  dis- 
play of  wealth  and  skill  in  the  management  of 
the  ceremony,  and,  above  all,  his  love  of  feeling 
himself  alive.  Solemn  writers  have  not  dis- 
dained to  describe  to  the  minutest  details  many 
of  the  pageants  which  they  witnessed. 

We  have  seen  that  the  earlier  elements  of 
the  Renaissance,  the  passion  for  knowledge  and 
glory,  were  not  of  the  kind  to  give  a new 
impulse  to  painting.  Nor  was  the  passion  for 
antiquity  at  all  so  direct  an  inspiration  to  that 
art  as  it  was  to  architecture  and  sculpture.  The 
love  of  glory  had,  it  is  true,  led  such  as  could 
not  afford  to  put  up  monumental  buildings,  to 
decorate  chapels  with  frescoes  in  which  their 
portraits  were  timidly  introduced.  But  it  was 
only  when  the  Renaissance  had  attained  to  a 
full  consciousness  of  its  interest  in  life  and  en- 
joyment of  the  world  that  it  naturally  turned, 
and  indeed  was  forced  to  turn,  to  painting  ; for 
it  is  obvious  that  painting  is  peculiarly  fitted 


The  Venetian  Painters 


II 


for  rendering  the  appearances  of  things  with  a 
glow  of  light  and  richness  of  colour  that  corre- 
spond to  and  express  warm  human  emotions. 

When  it  once  reached  the  point  where  its 
view  of  the  world  naturally  sought  expression 
in  painting,  as  religious  ideas  had  done  before, 
the  Renaissance  found  in  Venice  clearer  utter- 
ance than  elsewhere,  and  it  is  perhaps  this  fact 
which  makes  the  most  abiding  interest  of  Ven- 
etian painting.  It  is  at  this  point  that  we  shall 
take  it  up. 

The  growing  delight  in  life  with  the  conse- 
quent love  of  health,  beauty,  and  joy  were  felt 
more  powerfully  in  Venice  than  anywhere  else 
in  Italy.  The  explanation  of  this  may  be  found 
in  the  character  of  the  Venetian  government 
which  was  such  that  it  gave  little  room  for  the 
satisfaction  of  the  passion  for  personal  glory, 
and  kept  its  citizens  so  busy  in  duties  of  state 
that  they  had  small  leisure  for  learning.  Some 
of  the  chief  passions  of  the  Renaissance  thus 
finding  no  outlet  in  Venice,  the  other  passions 
insisted  all  the  more  on  being  satisfied.  Venice, 
moreover,  was  the  only  state  in  Italy  which  was 
enjoying,  and  for  many  generations  had  been 
enjoying,  internal  peace.  This  gave  the  Ven- 
etians a love  of  comfort,  of  ease,  and  of  splen- 


12 


Works  of 


dour,  a refinement  of  manner,  and  humaneness 
of  feeling,  which  made  them  the  first  really 
modern  people  in  Europe.  Since  there  was 
little  room  for  personal  glory  in  Venice,  the 
perpetuators  of  glory,  the  Humanists,  found 
at  first  scant  encouragement  there,  and  the 
Venetians  were  saved  from  that  absorption 
in  archaeology  and  pure  science  which  over- 
whelmed Florence  at  an  early  date.  This 
was  not  necessarily  an  advantage  in  itself, 
but  it  happened  to  suit  Venice,  where  the  con- 
ditions of  life  had  for  some  time  been  such  as 
to  build  up  a love  of  beautiful  things.  As  it 
was,  the  feeling  for  beauty  was  not  hindered  in 
its  natural  development.  Archaeology  would 
have  tried  to  submit  it  to  the  good  taste  of  the 
past,  a proceeding  which  rarely  promotes  good 
taste  in  the  present.  Too  much  archaeology 
and  too  much  science  might  have  ended  in 
making  Venetian  art  academic,  instead  of  let- 
ting it  become  what  it  did,  the  product  of  a 
natural  ripening  of  interest  in  life  and  love  of 
pleasure.  In  Florence,  it  is  true,  painting  had 
developed  almost  simultaneously  with  the  other 
arts,  and  it  may  be  due  to  this  very  cause  that 
the  Florentine  painters  never  quite  realised 
what  a different  task  from  the  architect’s  and 


Madonna  in  Ecstasy.  By  Crivelli. 

Picture  in  the  National  Gallery,  London. 


' 


The  Venetian  Painters 


J3 


sculptor’s  was  theirs.  At  the  time,  therefore, 
when  the  Renaissance  was  beginning  to  find  its 
best  expression  in  painting,  the  Florentines  were 
already  too  much  attached  to  classical  ideals  of 
form  and  composition,  in  other  words,  too  aca- 
demic, to  give  embodiment  to  the  throbbing 
feeling  for  life  and  pleasure. 

Thus  it  came  to  pass  that  in  the  Venetian 
pictures  of  the  end  of  the  fifteenth  century  we 
find  neither  the  contrition  nor  the  devotion  of 
those  earlier  years  when  the  Church  alone  em- 
ployed painting  as  the  interpreter  of  emotion, 
nor  the  learning  which  characterised  the  Flor- 
entines. The  Venetian  masters  of  this  time, 
although  nominally  continuing  to  paint  the 
Madonna  and  saints,  were  in  reality  painting 
handsome,  healthy,  sane  people  like  themselves, 
people  who  wore  their  splendid  robes  with  dig- 
nity, who  found  life  worth  the  mere  living  and 
sought  no  metaphysical  basis  for  it.  In  short, 
the  Venetian  pictures  of  the  last  decade  of  the 
century  seemed  intended  not  for  devotion,  as 
they  had  been,  nor  for  admiration,  as  they  then 
were  in  Florence,  but  for  enjoyment. 

The  Church  itself,  as  has  been  said,  had 
educated  its  children  to  understand  painting  as 
a language.  Now  that  the  passions  men  dared 


14 


Works  of 


to  avow  were  no  longer  connected  with  happi- 
ness in  some  future  state  only,  but  mainly  with 
life  in  the  present,  painting  was  expected  to 
give  voice  to  these  more  human  aspirations 
and  to  desert  the  outgrown  ideals  of  the 
Church.  In  Florence,  the  painters  seemed 
unable,  or  unwilling,  to  make  their  art  really 
popular.  Nor  was  it  so  necessary  there,  for 
Poliziano,  Pulci,  and  Lorenzo  dei  Medici  sup- 
plied the  need  of  self-expression  by  addressing 
the  Florentines  in  the  language  which  their 
early  enthusiasm  for  antiquity  and  their  natural 
gifts  had  made  them  understand  better  than 
any  other — the  language  of  poetry.  In  Venice 
alone  painting  remained  what  it  had  been  all 
over  Italy  in  earlier  times,  the  common  tongue 
of  the  whole  mass  of  the  people.  Venetian 
artists  thus  had  the  strongest  inducements  to 
perfect  the  processes  which  painters  must  em- 
ploy to  make  pictures  look  real  to  their  own 
generation ; and  their  generation  had  an  alto- 
gether firmer  hold  on  reality  than  any  that  had 
been  known  since  the  triumph  of  Christianity. 
Here  again  the  comparison  of  the  Renaissance 
to  youth  must  be  borne  in  mind.  The  grasp 
that  youth  has  on  reality  is  not  to  be  compared 
to  that  brought  by  age,  and  we  must  not  ex- 


The  Venetian  Painters 


15 


pect  to  find  in  the  Renaissance  a passion  for 
an  acquaintance  with  things  as  they  are  such 
as  we  ourselves  have  ; but  still  its  grasp  of  facts 
was  far  firmer  than  that  of  the  Middle  Ages. 

Painting,  in  accommodating  itself  to  the  new 
ideas,  found  that  it  could  not  attain  to  satisfac- 
tory representation  merely  by  form  and  colour, 
but  that  it  required  light  and  shadow  and 
effects  of  space.  Indeed,  venial  faults  of  draw- 
ing are  perhaps  the  least  disturbing,  while 
faults  of  perspective,  of  spacing,  and  of  colour 
completely  spoil  a picture  for  people  who  have 
an  everyday  acquaintance  with  painting  such 
as  the  Venetians  had.  We  find  the  Venetian 
painters,  therefore,  more  and  more  intent  upon 
giving  the  space  they  paint  its  real  depth,  upon 
giving  solid  objects  the  full  effect  of  the  round, 
upon  keeping  the  different  parts  of  a figure 
within  the  same  plane,  and  upon  compelling 
things  to  hold  their  proper  places  one  behind 
the  other.  As  early  as  the  beginning  of  the 
sixteenth  century  a few  of  the  greater  Venetian 
painters  had  succeeded  in  making  distant  ob- 
jects less  and  less  distinct,  as  well  as  smaller 
and  smaller,  and  had  succeeded  also  in  giving 
some  appearance  of  reality  to  the  atmosphere. 
These  are  a few  of  the  special  problems  of 


i6 


Works  of 


painting,  as  distinct  from  sculpture  for  instance, 
and  they  are  problems  which,  among  the 
Italians,  only  the  Venetians  and  the  painters 
closely  connected  with  them  solved  with  any 
success. 

The  painters  of  the  end  of  the  fifteenth  cent- 
ury who  met  with  the  greatest  success  in 
solving  these  problems  were  Giovanni  and 
Gentile  Bellini,  Cima  da  Conegliano,  and  Car- 
paccio, and  we  find  each  of  them  enjoyable  to 
the  degree  that  he  was  in  touch  with  the  life  of 
his  day.  I have  already  spoken  of  pageants, 
and  of  how  characteristic  they  were  of  the 
Renaissance,  forming  as  they  did  a sort  of 
safety-valve  for  its  chief  passions.  Venice, 
too,  knew  the  love  of  glory,  and  the  passion 
was  perhaps  only  the  more  intense  because  it 
was  all  dedicated  to  the  State.  There  was 
nothing  the  Venetians  would  not  do  to  add  to 
its  greatness,  glory,  and  splendour.  It  was 
this  which  led  them  to  make  of  the  city  itself 
that  wondrous  monument  to  the  love  and  awe 
they  felt  for  their  Republic,  which  still  rouses 
more  admiration  and  gives  more  pleasure  than 
any  other  one  achievement  of  the  art-impulse 
in  man.  They  were  not  content  to  make  their 
city  the  most  beautiful  in  the  world  ; they  per- 


The  Venetian  Painters 


17 


formed  ceremonies  in  its  honour  partaking  of 
all  the  solemnity  of  religious  rites.  Proces- 
sions and  pageants  by  land  and  by  sea,  free 
from  that  gross  element  of  improvisation  which 
characterised  them  elsewhere  in  Italy,  formed 
no  less  a part  of  the  functions  of  the  Venetian 
State  than  the  High  Mass  in  the  Catholic 
Church.  Such  a function,  with  Doge  and 
Senators  arrayed  in  gorgeous  costumes  no  less 
prescribed  than  the  raiments  of  ecclesiastics, 
in  the  midst  of  the  fairy-like  architecture  of  the 
Piazza  or  canals,  was  the  event  most  eagerly 
looked  forward  to,  and  the  one  that  gave  most 
satisfaction  to  the  Venetian’s  love  of  his  State, 
and  to  his  love  of  splendour,  beauty,  and  gaiety. 
He  would  have  had  them  every  day  if  it  were 
possible,  and  to  make  up  for  their  rarity,  he 
loved  to  have  representations  of  them.  So 
most  Venetian  pictures  of  the  beginning  of  the 
sixteenth  century  tended  to  take  the  form  of 
magnificent  processions,  if  they  did  not  actually 
represent  them.  They  are  processions  in  the 
Piazza,  as  in  Gentile  Bellini’s  “Corpus  Christi  ” 
picture,  or  on  the  water,  as  in  Carpaccio’s  pict- 
ure where  St.  Ursula  leaves  her  home ; or  they 
represent  what  was  a gorgeous  but  common 
sight  in  Venice,  the  reception  or  dismissal  of 


i8 


Works  of 


ambassadors,  as  in  several  pictures  of  Carpac- 
cio’s St.  Ursula  series  ; or  they  show  simply  a 
collection  of  splendidly  costumed  people  in  the 
Piazza,  as  in  Gentile’s  “ Preaching  of  St.  Mark.” 
Not  only  the  pleasure-loving  Carpaccio,  but 
the  austere  Cima,  as  he  grew  older,  turned 
every  biblical  and  saintly  legend  into  an  occa- 
sion for  the  picture  of  a pageant. 

But  there  was  a further  reason  for  the  popu- 
larity of  such  pictures.  The  decorations  which 
were  then  being  executed  by  the  most  reputed 
masters  in  the  Hall  of  Great  Council  in  the 
Doge’s  Palace,  were,  by  the  nature  of  the  sub- 
ject, required  to  represent  pageants.  The 
Venetian  State  encouraged  painting  as  did  the 
Church,  in  order  to  teach  its  subjects  its  own 
glory  in  a way  that  they  could  understand 
without  being  led  on  to  critical  enquiry. 
Venice  was  not  the  only  city,  it  is  true,  that 
used  painting  for  political  purposes  ; but  the 
frescoes  of  Lorenzetti  and  Siena  were  admoni- 
tions to  govern  in  accordance  with  the  Cate- 
chism, while  the  pictures  in  the  Great  Hall  of 
the  Doge’s  Palace  were  of  a nature  to  remind 
the  Venetians  of  their  glory  and  also  of  their 
state  policy.  These  mural  paintings  represented 
such  subjects  as  the  Doge  bringing  about  a 


St.  Giustma  dei  Borromei.  By  A Ivise  Vivarini. 

Picture  in  the  Collection  of  Signor  Bagati-  Valsecchi , Milan. 


The  Venetian  Painters 


19 


reconciliation  between  the  Pope  and  the  Em- 
peror Barbarossa,  an  event  which  marked  the 
first  entry  of  Venice  into  the  field  of  Conti- 
nental politics,  and  typified  as  well  its  un- 
changing policy,  which  was  to  gain  its  own 
ends  by  keeping  a balance  of  power  between 
the  allies  of  the  Pope  and  the  allies  of  his 
opponents.  The  first  edition,  so  to  speak,  of 
these  works  had  been  executed  at  the  end  of 
the  fourteenth  century  and  in  the  beginning 
of  the  fifteenth.  Toward  the  end  of  that  cent- 
ury it  no  longer  satisfied  the  new  feeling  for 
reality  and  beauty,  and  thus  had  ceased  to 
serve  its  purpose,  which  was  to  glorify  the 
State.  The  Bellini,  Alvise  Vivarini,  and  Car- 
paccio were  employed  to  make  a second  rend- 
ering of  the  very  same  subjects,  and  this 
gave  the  Venetians  ample  opportunity  for 
finding  out  how  much  they  liked  pageant 
pictures. 

It  is  curious  to  note  here  that  at  the  same 
time  Florence  also  commissioned  its  greatest 
painters  to  execute  works  for  its  Council  Hall, 
but  left  them  practically  free  to  choose  their  own 
subjects.  Michelangelo  chose  for  his  theme 
“ The  Florentines  while  Bathing  Surprised  by 
the  Pisans,”  and  Feonardo  “The  Battle  of  the 


20 


Works  of 


Standard.”  Neither  of  these  was  intended  in 
the  first  place  to  glorify  the  Florentine  Re- 
public, but  rather  to  give  scope  to  the  painter’s 
genius,  Michelangelo’s  for  the  treatment  of  the 
nude,  Leonardo’s  for  movement  and  animation. 
Each,  having  given  scope  to  his  peculiar  talents 
in  his  cartoon,  had  no  further  interest,  and 
neither  of  the  undertakings  was  ever  completed. 
Nor  do  we  hear  that  the  Florentine  councillors 
enjoyed  the  cartoons,  which  were  instantly 
snatched  up  by  students  who  turned  the  hall 
containing  them  into  an  academy. 

It  does  not  appear  that  the  Flail  of  Great 
Council  in  Venice  was  turned  into  a students’ 
academy,  and,  although  the  paintings  there 
doubtless  gave  a decided  incentive  to  artists, 
their  effect  upon  the  public,  for  whom  they 
were  designed,  was  even  greater.  The  coun- 
cillors were  not  allowed  to  be  the  only  people 
to  enjoy  fascinating  pictures  of  gorgeous  pa- 
geants and  ceremonials.  The  Mutual  Aid  So- 
cieties— the  Schools,  as  they  were  called — were 
not  long  in  getting  the  masters  who  were 
employed  in  the  Doge’s  Palace  to  execute  for 
their  own  meeting-places  pictures  equally  splen- 
did. The  Schools  of  San  Giorgio,  Sant’ 
Ursula,  and  Santo  Stefano,  employed  Carpac- 


The  Venetian  Painters 


21 


cio,  the  Schools  of  San  Giovanni  and  San 
Marco,  Gentile  Bellini,  and  other  Schools  em- 
ployed minor  painters.  The  works  carried  out 
for  these  Schools  are  of  peculiar  importance, 
both  because  they  are  all  that  remain  to  throw 
light  upon  the  pictures  in  the  Doge’s  Palace, 
destroyed  in  the  fire  of  1 576,  and  because  they 
form  a transition  to  the  art  of  a later  day.  Just 
as  the  State  chose  subjects  that  glorified  itself 
and  taught  its  own  histoiy  and  policy,  so  the 
Schools  had  pictures  painted  to  glorify  their 
patron  saints,  and  to  keep  their  deeds  and  ex- 
ample fresh.  Many  of  these  pictures — most 
in  fact — took  the  form  of  pageants ; but  even 
in  such,  intended  as  they  were  for  almost  do- 
mestic purposes,  the  style  of  high  ceremonial 
was  relaxed,  and  elements  taken  directly  from 
life  were  introduced.  In  his  “Corpus  Christi,” 
Gentile  Bellini  paints  not  only  the  solemn  and 
dazzling  procession  in  the  Piazza,  but  the  ele- 
gant young  men  who  strut  about  in  all  their 
finery,  the  foreign  loungers,  and  even  the  un- 
failing beggar  by  the  portal  of  St.  Mark’s.  In 
his  “ Miracle  of  the  True  Cross,”  he  introduces 
gondoliers,  taking  care  to  bring  out  all  the 
beauty  of  their  lithe,  comely  figures  as  they 
stand  to  ply  the  oar,  and  does  not  reject  even 


22 


Works  of 


such  an  episode  as  a serving-maid  standing 
in  a doorway  watching  a negro  who  is  about 
to  plunge  into  the  canal.  He  treats  this  bit 
of  the  picture  with  all  the  charm  and  much  of 
that  delicate  feeling  for  simple  effects  of  light 
and  colour  that  we  find  in  such  Dutch  painters 
as  Vermeer  van  Delft  and  Peter  de  Hoogh. 

Episodes  such  as  this  in  the  works  of  the 
earliest  great  Venetian  master  must  have  acted 
on  the  public  like  a spark  on  tinder.  They 
certainly  found  a sudden  and  assured  popular- 
ity, for  they  play  a more  and  more  important 
part  in  the  pictures  executed  for  the  Schools, 
many  of  the  subjects  of  which  were  readily 
turned  into  studies  of  ordinary  Venetian  life. 
This  was  particularly  true  of  the  works  of  Car- 
paccio. Much  as  he  loved  pageants,  he  loved 
homelier  scenes  as  well.  His  “ Dream  of  St. 
Ursula  ” shows  us  a young  girl  asleep  in  a room 
filled  with  the  quiet  morning  light.  Indeed,  it 
may  be  better  described  as  the  picture  of  a room 
with  the  light  playing  softly  upon  its  walls,  up- 
on the  flower-pots  in  the  window,  and  upon  the 
writing-table  and  the  cupboards.  A young 
girl  happens  to  be  asleep  in  the  bed,  but  the 
picture  is  far  from  being  a merely  economic 
illustration  to  this  episode  in  the  life  of  the 


The  Venetian  Painters 


23 


saint.  Again,  let  us  take  the  work  in  the  same 
series  where  King  Maure  dismisses  the  ambas- 
sadors. Carpaccio  has  made  this  a scene  of  a 
chancellery  in  which  the  most  striking  features 
are  neither  the  king  nor  the  ambassadors,  but 
the  effect  of  the  light  that  streams  through  a 
side  door  on  the  left  and  a poor  clerk  labour- 
ing at  his  task.  Or,  again,  take  St.  Jerome  in 
his  study,  in  the  Scuola  di  San  Giorgio.  He 
is  nothing  but  a Venetian  scholar  seated  in  his 
comfortable,  bright  library,  in  the  midst  of  his 
books,  with  his  little  shelf  of  bric-a-brac  run- 
ning along  the  wall.  There  is  nothing  in  his 
look  or  surroundings  to  speak  of  a life  of  self- 
denial  or  of  arduous  devotion  to  the  problems 
of  sin  and  redemption.  Even  the  “ Present- 
ation of  the  Virgin,”  which  offered  such  a splen- 
did chance  for  a pageant,  Carpaccio,  in  one 
instance,  turned  into  the  picture  of  a simple 
girl  going  to  her  first  communion.  In  other 
words,  Carpaccio’s  quality  is  the  quality  of  a 
painter  of  genre , of  which  he  was  the  earliest 
Italian  master.  His  genre  differs  from  Dutch 
or  French  not  in  kind  but  in  degree.  Dutch 
genre  is  much  more  democratic,  and,  as  paint- 
ing, it  is  of  a far  finer  quality,  but  it  deals  with 
its  subject,  as  Carpaccio  does,  for  the  sake  of 


24 


Works  of 


its  own  pictorial  capacities,  and  for  the  sake  of 
the  effects  of  colour  and  of  light  and  shade. 

At  the  beginning  of  the  Renaissance  painting 
was  almost  wholly  confined  to  the  Church. 
From  the  Church  it  extended  to  the  Council 
Hall,  and  thence  to  the  Schools.  There  it 
rapidly  developed  into  an  art  which  had  no 
higher  aim  than  painting  the  sumptuous  life 
of  the  aristocracy.  When  it  had  reached  this 
point,  there  was  no  reason  whatever  why  it 
should  not  begin  to  grace  the  dwellings  of  all 
well-to-do  people. 

In  the  sixteenth  century  painting  was  not 
looked  upon  with  the  estranging  reverence  paid 
to  it  now.  It  was  almost  as  cheap  as  printing 
has  become  since,  and  almost  as  much  employed. 
When  the  Venetians  had  attained  the  point  of 
culture  where  they  were  able  to  differentiate 
their  sensations  and  distinguish  pleasure  from 
edification,  they  found  that  painting  gave  them 
decided  pleasure.  Why  should  they  always 
have  to  go  to  the  Doge’s  Palace  or  to  some 
School  to  enjoy  this  pleasure  ? That  would 
have  been  no  less  a hardship  than  for  us  never 
to  hear  music  outside  of  a concert-room.  This 
is  no  merely  rhetorical  comparison,  for  in  the 
life  of  the  Venetian  of  the  sixteenth  century 


Portrait  of  a Monk . By  Gentile  Bellini. 

Picture  in  the  National  Gallery , London , 


/ 


The  Venetian  Painters 


25 


painting  took  much  the  same  place  that  music 
takes  in  ours.  He  no  longer  expected  it  to  tell 
him  stories  or  to  teach  him  the  Catechism. 
Printed  books,  which  were  beginning  to  grow 
common,  amply  satisfied  both  these  needs. 
He  had  as  a rule  very  little  personal  religion, 
and  consequently  did  not  care  for  pictures  that 
moved  him  to  contrition  or  devotion.  He  pre- 
ferred to  have  some  pleasantly  coloured  thing 
that  would  put  him  into  a mood  connected  with 
the  side  of  life  he  most  enjoyed — with  refined 
merrymaking,  with  country  parties,  or  with  the 
sweet  dreams  of  youth.  Venetian  painting 
alone  among  Italian  schools  was  ready  to  sat- 
isfy such  a demand,  and  it  thus  became  the  first 
genuinely  modern  art : for  the  most  vital  dif- 
ference that  can  be  indicated  between  the  arts 
in  antiquity  and  modern  times  is  this — that 
now  the  arts  tend  to  address  themselves  more 
and  more  to  the  actual  needs  of  men,  while 
in  olden  times  they  wrere  supposed  to  serve 
some  more  than  human  purpose. 

The  pictures  required  for  a house  were  natur- 
ally of  a different  kind  from  those  suited  to 
the  Council  Hall  or  the  School,  where  large 
paintings,  which  could  be  filled  with  many 
figures,  were  in  place.  For  the  house  smaller 


26 


Works  of 


pictures  were  necessary,  such  as  could  easily  be 
carried  about.  The  mere  dimensions,  there- 
fore, excluded  pageants,  but,  in  any  case,  the 
pageant  was  too  formal  a subject  to  suit  all 
moods — too  much  like  a brass  band  always 
playing  in  the  room.  The  easel  picture  had  to 
be  without  too  definite  a subject,  and  could  no 
more  permit  being  translated  into  words  than  a 
sonata.  Some  of  Giovanni  Bellini’s  late  works 
are  already  of  this  kind.  They  are  full  of  that 
subtle,  refined  poetry  which  can  be  expressed 
in  form  and  colour  alone.  But  they  were  a 
little  too  austere  in  form,  a little  too  sober  in 
colour,  for  the  gay,  care-free  youth  of  the  time. 
Carpaccio  does  not  seem  to  have  painted  many 
easel  pictures,  although  his  brilliancy,  his  de- 
lightful fancy,  his  love  of  colour,  and  his  gaiety 
of  humour  would  have  fitted  him  admirably 
for  this  kind  of  painting.  But  Giorgione,  the 
follower  of  both  these  masters,  starting  with 
the  qualities  of  both  as  his  inheritance,  com- 
bined the  refined  feeling  and  poetry  of  Bellini 
with  Carpaccio’s  gaiety  and  love  of  beauty  and 
colour.  Stirred  with  the  enthusiasms  of  his 
own  generation  as  people  who  had  lived 
through  other  phases  of  feeling  could  not  be, 
Giorgione  painted  pictures  so  perfectly  in  touch 


The  Venetian  Painters 


27 


with  the  ripened  spirit  of  the  Renaissance  that 
they  met  with  the  success  which  those  things 
only  find  that  at  the  same  moment  wake  us  to 
the  full  sense  of  a need  and  satisfy  it. 

Giorgione’s  life  was  short,  and  very  few  of 
his  works — not  a score  in  all — have  escaped 
destruction.  But  these  suffice  to  give  us  a 
glimpse  into  that  brief  moment  when  the  Re- 
naissance found  its  most  genuine  expression  in 
painting.  Its  over-boisterous  passions  had 
quieted  down  into  a sincere  appreciation  of 
beauty  and  of  human  relations.  It  would  be 
really  hard  to  say  more  about  Giorgione  than 
this,  that  his  pictures  are  the  perfect  reflex  of 
the  Renaissance  at  its  height.  His  works,  as 
well  as  those  of  his  contemporaries  and  follow- 
ers, still  continue  to  be  appreciated  most  by 
people  whose  attitude  of  mind  and  spirit  has 
most  in  common  with  the  Renaissance,  or  by 
those  who  look  upon  Italian  art  not  merely  as 
art,  but  as  the  product  of  this  period.  For  that 
is  its  greatest  interest.  Other  schools  have  ac- 
complished much  more  in  mere  painting  than 
the  Italian.  A serious  student  of  art  will 
scarcely  think  of  putting  many  of  even  the  high- 
est achievements  of  the  Italians,  considered 
purely  as  technique,  beside  the  works  of  the 


28 


Works  of 


great  Dutchmen,  the  great  Spaniard,  or  even 
the  masters  of  to-day.  Our  real  interest  in 
Italian  painting  is  at  bottom  an  interest  in  that 
art  which  we  almost  instinctively  feel  to  have 
been  the  fittest  expression  found  by  a period 
in  the  history  of  modern  Europe  which  has 
much  in  common  with  youth.  The  Renais- 
sance has  the  fascination  of  those  years  when 
we  seemed  so  full  of  promise  both  to  ourselves 
and  to  everybody  else. 

Giorgione  created  a demand  which  other  paint- 
ers were  forced  to  supply  at  the  risk  of  finding 
no  favour.  The  older  painters  accommodated 
themselves  as  best  they  could.  One  of  them 
indeed,  turning  toward  the  new  in  a way  that 
is  full  of  singular  charm,  gave  his  later  works 
all  the  beauty  and  softness  of  the  first  spring 
days  in  Italy.  Upon  hearing  the  title  of  one  of 
Catena’s  works  in  the  National  Gallery,  “ A 
Warrior  Adoring  the  Infant  Christ,”  who  could 
imagine  what  a treat  the  picture  itself  had  in 
store  for  him  ? It  is  a fragrant  summer  land- 
scape enjoyed  by  a few  quiet  people,  one  of 
whom,  in  armour,  with  the  glamour  of  the 
Orient  about  him,  kneels  at  the  Virgin’s  feet, 
while  a romantic  young  page  holds  his  horse’s 
bridle.  I mention  this  picture  in  particular  be- 


The  Venetian  Painters 


29 


cause  it  is  so  accessible,  and  so  good  an  instance 
of  the  Giorgionesque  way  of  treating  a subject ; 
not  for  the  story,  nor  for  the  display  of  skill,  nor 
for  the  obvious  feeling,  but  for  the  lovely  land- 
scape, for  the  effects  of  light  and  colour,  and  for 
the  sweetness  of  human  relations.  Giorgione’s 
altar-piece  at  Castelfranco  is  treated  in  precisely 
the  same  spirit,  but  with  far  more  genius. 

The  young  painters  had  no  chance  at  all  un- 
less they  undertook  at  once  to  furnish  pictures 
in  Giorgione’s  style.  But  before  we  can  ap- 
preciate all  that  the  younger  men  were  called 
upon  to  do,  we  must  turn  to  the  consideration 
of  that  most  wonderful  product  of  the  Renais- 
sance and  of  the  painter’s  craft — the  Portrait. 

The  longing  for  the  perpetuation  of  one’s 
fame,  which  has  already  been  mentioned  several 
times  as  one  of  the  chief  passions  of  the  Renais- 
sance, brought  with  it  the  more  universal  desire 
to  hand  down  the  memory  of  one’s  face  and  fig- 
ure. The  surest  way  to  accomplish  this  end 
seemed  to  be  the  one  which  had  proved  suc- 
cessful in  the  case  of  the  great  Romans,  whose 
effigies  were  growing  more  and  more  familiar 
as  new  busts  and  medals  were  dug  up.  The 
earlier  generations  of  the  Renaissance  relied 
therefore  on  the  sculptor  and  the  medallist  to 


3° 


Works  of 


hand  down  their  features  to  an  interested  post- 
erity. These  artists  were  ready  for  their  task. 
The  mere  materials  gave  them  solidity,  an  effect 
so  hard  to  get  in  painting.  At  the  same  time, 
nothing  was  expected  from  them  except  that 
they  should  mould  the  material  into  the  desired 
shape.  No  setting  was  required  and  no  colour. 
Their  art  on  this  account  alone  would  naturally 
have  been  the  earliest  to  reach  fruition.  But 
over  and  above  this,  sculptors  and  medallists 
had  the  direct  inspiration  of  antique  models, 
and  through  the  study  of  these  they  were  at  an 
early  date  brought  in  contact  with  the  tendencies 
of  the  Renaissance.  The  passion  then  prevail- 
ing for  pronounced  types,  and  the  spirit  of  an- 
alysis this  produced,  forced  them  to  such  patient 
study  of  the  face  as  would  enable  them  to  give 
the  features  that  look  of  belonging  to  one  con- 
sistent whole  which  we  call  character.  Thus,  at 
a time  when  painters  had  not  yet  learned  to  dis- 
tinguish between  one  face  and  another,  Donatello 
was  carving  busts  which  remain  unrivalled  as 
studies  of  character,  and  Pisanello  was  casting 
bronze  and  silver  medals  which  are  among  the 
greatest  claims  to  renown  of  those  whose  effigies 
they  bear. 

Donatello’s  bust  of  Niccolo  d’Uzzano  shows 


Portrait  of  a Man . By  Jacopo  di  Barbari. 

Picture  in  the  Imperial  Gallery , Vienna, 


The  Venetian  Painters 


31 


clearly,  nevertheless,  that  the  Renaissance  could 
not  long  remain  satisfied  with  the  sculptured 
portrait.  It  is  coloured  like  nature,  and  suc- 
ceeds so  well  in  producing  for  an  instant  the 
effect  of  actual  life  as  to  seem  uncanny  the 
next  moment.  Donatello’s  contemporaries 
must  have  had  the  same  impression,  for  busts 
of  this  kind  are  but  few.  Yet  these  few  prove 
that  the  element  of  colour  had  to  be  included 
before  the  satisfactory  portrait  was  found  : in 
other  words,  that  painting  and  not  sculpt- 
ure was  to  be  the  portrait-art  of  the  Renais- 
sance. 

The  most  creative  sculptor  of  the  earlier 
Renaissance  was  not  the  only  artist  who  felt 
the  need  of  colour  in  portraiture.  Vittore 
Pisano,  the  greatest  medallist  of  this  or  any 
age,  felt  it  quite  as  keenly,  and  being  a painter 
as  well,  he  was  among  the  first  to  turn  this  art 
to  portraiture.  In  his  day,  however,  painting 
was  still  too  undeveloped  an  art  for  the  portrait 
not  to  lose  in  character  what  it  gained  in  a 
more  lifelike  colouring,  and  the  two  of  Pisa- 
nello’s  portraits  which  still  exist  are  profiles 
much  inferior  to  his  best  medals,  seeming 
indeed  to  be  enlargements  of  them  rather  than 
original  studies  from  life. 


32 


Works  of 


It  was  only  in  the  next  generation,  when 
the  attention  of  painters  themselves  was 
powerfully  concentrated  upon  the  reproduc- 
tion of  strongly  pronounced  types  of  humanity, 
that  they  began  to  make  portraits  as  full  of 
life  and  energy  as  Donatello’s  busts  of  the 
previous  period.  Even  then,  however,  the 
full  face  was  rarely  attempted,  and  it  was  only 
in  the  beginning  of  the  sixteenth  century  that 
full-face  portraits  began  to  be  common.  The 
earliest  striking  achievement  of  this  sort,  Man- 
tegna’s head  of  Cardinal  Scarampo  (now  in 
Berlin),  was  not  the  kind  to  find  favour  in 
Venice.  The  full-face  likeness  of  this  wolf 
in  sheep’s  clothing  brought  out  the  workings 
of  the  self-seeking,  cynical  spirit  within  too 
clearly  not  to  have  revolted  the  Venetians, 
who  looked  upon  all  such  qualities  as  impious 
in  the  individual  because  they  were  the  strict 
monopoly  of  the  State.  In  the  portraits  of 
Doges  which  decorated  the  frieze  of  its  great 
Council  Hall,  Venice  wanted  the  effigies  of 
functionaries  entirely  devoted  to  the  State,  and 
not  of  great  personalities,  and  the  profile  lent 
itself  more  readily  to  the  omission  of  purely 
individual  traits. 

It  is  significant  that  Venice  was  the  first 


The  Venetian  Painters 


33 


state  which  made  a business  of  preserving  the 
portraits  of  its  chief  rulers.  Those  which 
Gentile  and  Giovanni  Bellini  executed  for  this 
end  must  have  had  no  less  influence  on  por- 
traiture than  their  mural  paintings  in  the  same 
Hall  had  on  other  branches  of  the  art.  But 
the  State  was  not  satisfied  with  leaving  records 
of  its  glory  in  the  Ducal  Palace  alone.  The 
Church  and  the  saints  were  impressed  for  the 
same  purpose — happily  for  us,  for  while  the 
portraits  in  the  Great  Hall  have  perished,  sev- 
eral altar-pieces  still  preserve  to  us  the  like- 
nesses of  some  of  the  Doges. 

Early  in  the  sixteenth  century,  when  people 
began  to  want  pictures  in  their  own  homes  as 
well  as  in  their  public  halls,  personal  and  re- 
ligious motives  combined  to  dictate  the  choice 
of  subjects.  In  the  minds  of  many,  painting, 
although  a very  familiar  art,  was  too  much 
connected  with  solemn  religious  rites  and  with 
state  ceremonies  to  be  used  at  once  for  ends  of 
personal  pleasure.  So  landscape  had  to  slide 
in  under  the  patronage  of  St.  Jerome ; while 
romantic  biblical  episodes,  like  the  “ Finding  of 
Moses,”  or  the  “Judgment of  Solomon,”  gave 
an  excuse  for  genre,  and  the  portrait  crept  in  half 
hidden  under  the  mantle  of  a patron  saint.  Its 


34 


Works  of 


position  once  secure,  however,  the  portrait 
took  no  time  to  cast  off  all  tutelage,  and  to 
declare  itself  one  of  the  most  attractive  sub- 
jects possible.  Over  and  above  the  obvious 
satisfaction  afforded  by  a likeness,  the  portrait 
had  to  give  pleasure  to  the  eye,  and  to  pro- 
duce those  agreeable  moods  which  were  ex- 
pected from  all  other  paintings  in  Giorgione’s 
time.  Portraits  like  that  of  Scarampo  are 
scarcely  less  hard  to  live  with  than  such  a 
person  himself  must  have  been.  They  tyran- 
nise rather  than  soothe  and  please.  But  Gior- 
gione and  his  immediate  followers  painted  men 
and  women  whose  very  look  leads  one  to  think 
of  sympathetic  friends,  people  whose  features 
are  pleasantly  rounded,  whose  raiment  seems 
soft  to  touch,  whose  surroundings  call  up  the 
memory  of  sweet  landscapes  and  refreshing 
breezes.  In  fact,  in  these  portraits  the  least 
apparent  object  was  the  likeness,  the  real  pur- 
pose being  to  please  the  eye  and  to  turn  the 
mind  toward  pleasant  themes.  This  no  doubt 
helps  to  account  for  the  great  popularity 
of  portraits  in  Venice  during  the  sixteenth 
century.  Their  number,  as  we  shall  see,  only 
grows  larger  as  the  century  advances. 

Giorgione’s  followers  had  only  to  exploit  the 


The  Venetian  Painters 


35 


vein  their  master  hit  upon  to  find  ample  remun- 
eration. Each,  to  be  sure,  brought  a distinct 
personality  into  play,  but  the  demand  for 
the  Giorgionesque  article,  if  I may  be  allowed 
the  phrase,  was  too  strong  to  permit  of  much 
deviation.  It  no  longer  mattered  what  the 
picture  was  to  represent  or  where  it  was  going 
to  be  placed  ; the  treatment  had  to  be  always 
bright,  romantic,  and  joyous.  Many  artists  still 
confined  themselves  to  painting  ecclesiastical 
subjects  chiefly,  but  even  among  these,  such 
painters  as  Lotto  and  Palma,  for  example,  are 
fully  as  Giorgionesque  as  Titian,  Bonifazio,  or 
Paris  Bordone. 

Titian,  in  spite  of  a sturdier,  less  refined 
nature,  did  nothing  for  a generation  after 
Giorgione’s  death  but  work  on  his  lines.  A 
difference  in  quality  between  the  two  masters 
shows  itself  from  the  first,  but  the  spirit  that 
animated  each  is  identical.  The  pictures  Titian 
was  painting  ten  years  after  his  companion’s 
death  have  not  only  many  of  the  qualities  of 
Giorgione’s,  but  something  more,  as  if  done  by 
an  older  Giorgione,  with  better  possession  of 
himself,  and  with  a larger  and  firmer  hold  on 
the  world.  At  the  same  time,  they  show  no 
diminution  of  spontaneous  joy  in  life,  and  even 


36 


Works  of 


an  increased  sense  of.  its  value  and  dignity. 
What  an  array  of  masterpieces  might  be 
brought  to  witness!  In  the  “Assumption,” 
for  example,  the  Virgin  soars  heavenward,  not 
helpless  in  the  arms  of  angels,  but  borne  up  by 
the  fulness  of  life  within  her,  and  by  the  feel- 
ing that  the  universe  is  naturally  her  own,  and 
that  nothing  can  check  her  course.  The  angels 
seem  to  be  there  only  to  sing  the  victory  of  a 
human  being  over  his  environment.  They  are 
embodied  joys,  acting  on  our  nerves  like  the 
rapturous  outburst  of  the  orchestra  at  the  end 
of  “Parsifal.”  Or  look  at  the  “Bacchanals” 
in  Madrid,  or  at  the  “ Bacchus  and  Ariadne  ” 
in  the  National  Gallery.  How  brimful  they 
are  of  exuberant  joy ! you  see  no  sign  of  a 
struggle  of  inner  and  outer  conditions,  but  life 
so  free,  so  strong,  so  glowing,  that  it  almost 
intoxicates.  They  are  truly  Dionysiac,  Bac- 
chanalian triumphs — the  triumph  of  life  over 
the  ghosts  that  love  the  gloom  and  chill  and 
hate  the  sun. 

The  portraits  Titian  painted  in  these  years 
show  no  less  feeling  of  freedom  from  sordid 
cares,  and  no  less  mastery  over  life.  Think  of 
“ The  Man  with  the  Glove  ” in  the  Louvre,  of 
the  “Concert,”  and  “Young  Englishman”  in 


Portrait  of  a Young  Man.  By  Giorgione. 

Picture  in  the  Royal  Gallery , Berlin. 


The  Venetian  Painters 


37 


Florence,  and  of  the  Pesaro  family  in  their 
altar-piece  in  the  Frari  at  Venice — call  up  these 
portraits,  and  you  will  see  that  they  are  true 
children  of  the  Renaissance  whom  life  has 
taught  no  meannesses  and  no  fears. 

But  even  while  such  pictures  were  being 
painted,  the  spirit  of  the  Italian  Renaissance 
was  proving  inadequate  to  life.  This  was  not 
the  fault  of  the  spirit,  which  was  the  spirit  of 
youth.  But  youth  cannot  last  more  than  a 
certain  length  of  time.  No  matter  how  it  is 
spent,  manhood  and  middle  age  will  come. 
Life  began  to  show  a sterner  and  more  sober 
face  than  for  a brief  moment  it  had  seemed  to 
wear.  Men  became  conscious  that  the  passions 
for  knowledge,  for  glory,  and  for  personal 
advancement  were  not  at  the  bottom  of  all 
the  problems  that  life  presented.  Florence  and 
Rome  discovered  this  suddenly,  and  with  a 
shock.  In  the  presence  of  Michelangelo’s  sculpt- 
ures in  San  Lorenzo,  or  of  his  “ Last  Judg- 
ment,” we  still  hear  the  cry  of  anguish  that  went 
up  as  the  inexorable  truth  dawned  upon  them. 
But  Venice,  although  humiliated  by  the  League 
of  Cambrai,  impoverished  by  the  Turk,  and  by 
the  change  in  the  routes  of  commerce,  was  not 
crushed,  as  was  the  rest  of  Italy,  under  the 


33 


Works  of 


heels  of  Spanish  infantry,  nor  so  drained  of 
resource  as  not  to  have  some  wealth  still  flow- 
ing into  her  coffers.  Life  grew  soberer  and 
sterner,  but  it  was  still  amply  worth  the  living, 
although  the  relish  of  a little  stoicism  and  of 
earnest  thought  no  longer  seemed  out  of  place. 
The  spirit  of  the  Renaissance  had  found  its 
way  to  Venice  slowly ; it  was  even  more  slow 
to  depart. 

We  therefore  find  that  toward  the  middle  of 
the  sixteenth  century,  when  elsewhere  in  Italy 
painting  was  trying  to  adapt  itself  to  the 
hypocrisy  of  a Church  whose  chief  reason  for 
surviving  as  an  institution  was  that  it  helped 
Spain  to  subject  the  world  to  tyranny,  and 
when  portraits  were  already  exhibiting  the  fas- 
cinating youths  of  an  earlier  generation  turned 
into  obsequious  and  elegant  courtiers, — in 
Venice  painting  kept  true  to  the  ripened  and 
more  reflective  spirit  which  succeeded  to  the 
most  glowing  decades  of  the  Renaissance.  This 
led  men  to  take  themselves  more  seriously,  to 
act  with  more  consideration  of  consequences, 
and  to  think  of  life  with  less  hope  and  exulta- 
tion. Quieter  joys  were  sought,  the  pleasures 
of  friendship  and  of  the  affections.  Life  not 
having  proved  the  endless  holiday  it  had  pro- 


The  Venetian  Painters 


39 


mised  to  be,  earnest  people  began  to  question 
whether  under  the  gross  masque  of  the  official 
religion  there  was  not  something  to  console 
them  for  departed  youth  and  for  the  failure  of 
hopes.  Thus  religion  began  to  revive  in  Italy, 
this  time  not  ethnic  nor  political,  but  personal, 
— an  answer  to  the  real  needs  of  the  human 
soul. 

It  is  scarcely  to  be  wondered  at  that  the  Ve- 
netian artist  in  whom  we  first  find  the  expres- 
sion of  the  new  feelings,  should  have  been  one 
who  by  wide  travel  had  been  brought  in  con- 
tact with  the  miseries  of  Italy  in  a way  not  pos- 
sible for  those  who  remained  sheltered  in 
Venice.  Lorenzo  Lotto,  when  he  is  most  him- 
self, does  not  paint  the  triumph  of  man  over 
his  environment,  but  in  his  altar-pieces,  and 
even  more  in  his  portraits,  he  shows  us  people 
in  want  of  the  consolations  of  religion,  of  sober 
thought,  of  friendship  and  affection.  They  look 
out  from  his  canvases  as  if  begging  for  sym- 
pathy. 

But  real  expression  for  the  new  order  of 
things  was  not  to  be  found  by  one  like  Lotto, 
sensitive  of  feeling  and  born  in  the  heyday  of 
the  Renaissance,  to  whom  the  new  must  have 
come  as  a disappointment.  It  had  to  come 


40 


Works  of 


from  one  who  had  not  been  brought  in  per- 
sonal contact  with  the  woes  of  the  rest  of 
Italy,  from  one  less  conscious  of  his  environ- 
ment, one  like  Titian,  who  was  readier  to  re- 
ceive the  patronage  of  the  new  master  than  to 
feel  an  oppression  which  did  not  touch  him 
personally ; or  it  had  to  come  from  one  like 
Tintoretto,  born  to  the  new  order  of  things, 
and  not  having  to  outlive  a disappointment 
before  adapting  himself  to  it. 

It  is  as  impossible  to  keep  untouched  by 
what  happens  to  your  neighbours  as  to  have  a 
bright  sky  over  your  own  house  when  it  is 
stormy  everywhere  else.  Spain  did  not  di- 
rectly dominate  Venice,  but  the  new  fashions 
of  life  and  thought  inaugurated  by  her  nearly 
universal  triumph  could  not  be  kept  out.  Her 
victims,  among  whom  the  Italian  scholars  must 
be  reckoned,  flocked  to  Venice  for  shelter,  per- 
secuted by  a rule  that  cherished  the  Inquisi- 
tion. Now  for  the  first  time  Venetian  painters 
were  brought  in  contact  with  men  of  letters. 
As  they  were  already,  fortunately  for  them- 
selves, too  well  acquainted  with  the  business 
of  their  own  art  to  be  taken  in  tow  by  learning, 
or  even  by  poetry,  the  relation  of  the  man  of 
letters  to  the  painter  became,  on  the  whole,  a 


The  Venetian  Painters 


41 


stimulating  and  at  any  rate  a profitable  one,  as 
in  the  instance  of  two  of  the  greatest,  where  it 
took  the  form  of  a partnership  for  mutual  ad- 
vantage. It  is  not  to  our  purpose  to  speak  of 
Aretino’s  gain,  but  Titian  would  scarcely  have 
acquired  such  fame  in  his  lifetime  if  that  founder 
of  modern  journalism,  Pietro  Aretino,  had  not 
been  at  his  side,  eager  to  trumpet  his  praises 
and  to  advise  him  whom  to  court. 

The  overwhelming  triumph  of  Spain  entailed 
still  another  consequence.  It  brought  home 
to  all  Italians,  even  to  the  Venetians,  the  sense 
of  the  individual’s  helplessness  before  organ- 
ized power — a sense  which,  as  we  have  seen, 
the  early  Renaissance,  with  its  belief  in  the 
omnipotence  of  the  individual,  totally  lacked. 
This  was  not  without  a decided  influence  on 
art.  In  the  last  three  decades  of  his  long 
career,  Titian  did  not  paint  man  as  if  he  were 
as  free  from  care  and  as  fitted  to  his  environ- 
ment as  a lark  on  an  April  morning.  Rather 
did  he  represent  man  as  acting  on  his  environ- 
ment and  suffering  from  its  reactions.  He 
made  the  faces  and  figures  show  clearly  what 
life  had  done  to  them.  The  great  “ Ecce 
Homo”  and  the  “Crowning  with  Thorns” 
are  imbued  with  this  feeling  no  less  than  the 


42 


Works  of 


equestrian  portrait  of  Charles  the  Fifth.  In  the 
“ Ecce  Homo  ” we  see  a man  with  a godlike 
personality,  humbled  by  the  imperial  majesty, 
broken  by  the  imperial  power,  and  utterly  un- 
able to  hold  out  against  them.  In  the  “ Crown- 
ing with  Thorns  ” we  have  the  same  godlike 
being  almost  brutalised  by  pain  and  suffering. 
In  the  portrait  of  the  Emperor  we  behold  a man 
whom  life  has  enfeebled,  and  who  has  to  meet 
a foe  who  may  crush  him. 

Yet  Titian  became  neither  soured  nor  a 
pessimist.  Many  of  his  late  portraits  are  even 
more  energetic  than  those  of  his  early  matur- 
ity. He  shows  himself  a wise  man  of  the 
world.  “Do  not  be  a grovelling  sycophant,” 
some  of  them  seem  to  say,  “but  remember 
that  courtly  manners  and  tempered  elegance 
can  do  you  no  harm.”  Titian,  then,  was  ever 
ready  to  change  with  the  times,  and  on  the 
whole  the  change  was  toward  a firmer  grasp  of 
reality,  necessitating  yet  another  advance  in 
the  painter’s  mastery  of  his  craft.  Titian’s 
real  greatness  consists  in  the  fact  that  he  was 
as  able  to  produce  an  effect  of  greater  reality 
as  he  was  ready  to  appreciate  the  need  of  a 
firmer  hold  on  life.  In  painting,  as  I have 
said,  a greater  effect  of  reality  is  chiefly  a mat- 


Portrait  of  a Young  Roman  Lady . By  Sebastiano 

del  Piombo. 

Picture  in  the  Royal  Gallery , Berlin. 


The  Venetian  Painters 


43 


ter  of  light  and  shadow,  to  be  obtained  only 
by  considering  the  canvas  as  an  enclosed 
space,  filled  with  light  and  air,  through  which 
the  objects  are  seen.  There  is  more  than  one 
way  of  getting  this  effect,  but  Titian  attains  it 
by  the  almost  total  suppression  of  outlines,  by 
the  harmonising  of  his  colours,  and  by  the 
largeness  and  vigour  of  his  brushwork.  In 
fact,  the  old  Titian  was,  in  his  way  of  painting, 
remarkably  like  some  of  the  best  French  mas- 
ters of  to-day.  This  makes  him  only  the  more 
attractive,  particularly  when  with  handling  of 
this  kind  he  combined  the  power  of  creating 
forms  of  beauty  such  as  he  has  given  us  in  the 
“Wisdom”  of  the  Venetian  Royal  Palace,  or 
in  the  “ Shepherd  and  Nymph  ” of  Vienna. 
The  difference  between  the  old  Titian,  author 
of  these  works,  and  the  young  Titian,  painter 
of  the  “Assumption,”  and  of  the  “Bacchus 
and  Ariadne,”  is  the  difference  between  the 
Shakspeare  of  the  “ Midsummer-Night’s 
Dream”  and  the  Shakspeare  of  the  “Tem- 
pest.” Titian  and  Shakspeare  begin  and  end 
so  much  in  the  same  way  by  no  mere  accident. 
They  were  both  products  of  the  Renaissance, 
they  underwent  similar  changes,  and  each  was 
the  highest  and  completest  expression  of  his 


44 


Works  of 


own  age.  This  is  not  the  place  to  elaborate 
the  comparison,  but  I have  dwelt  so  long  on 
Titian,  because,  historically  considered,  he  is 
the  only  painter  who  expressed  nearly  all  of 
the  Renaissance  that  could  find  expression  in 
painting.  It  is  this  which  makes  him  even 
more  interesting  than  Tintoretto,  an  artist  who 
in  many  ways  was  deeper,  finer,  and  even  more 
brilliant. 

Tintoretto  grew  to  manhood  when  the  fruit 
of  the  Renaissance  was  ripe  on  every  bough. 
The  Renaissance  had  resulted  in  the  emancipa- 
tion of  the  individual,  in  making  him  feel  that 
the  universe  had  no  other  purpose  than  his 
happiness.  This  brought  an  entirely  new  an- 
swer to  the  question,  “Why  should  I do  this 
or  that?”  It  used  to  be,  “Because  self-insti- 
tuted authority  commands  you.”  The  answer 
now  was,  “ Because  it  is  good  for  men.”  In  this 
lies  our  greatest  debt  to  the  Renaissance,  that 
it  instituted  the  welfare  of  man  as  the  end  of 
all  action.  The  Renaissance  did  not  bring  this 
idea  to  practical  issue,  but  our  debt  to  it  is 
endless  on  account  of  the  results  the  idea  has 
produced  in  our  own  days.  This  alone  would 
have  made  the  Renaissance  a period  of  peculiar 
interest,  even  if  it  had  had  no  art  whatever. 


The  Venetian  Painters 


45 


But  when  ideas  are  fresh  and  strong,  they  are 
almost  sure  to  find  artistic  embodiment,  as 
indeed  this  whole  epoch  found  in  painting, 
and  this  particular  period  in  the  works  of 
Tintoretto. 

The  emancipation  of  the  individual  had  a 
direct  effect  on  the  painter  in  freeing  him  from 
his  guild.  It  now  occurred  to  him  that  possibly 
he  might  become  more  proficient  and  have 
greater  success  if  he  deserted  the  influences  he 
was  under  by  the  accident  of  birth  and  resid- 
ence, and  placed  himself  in  the  school  that 
seemed  best  adapted  to  foster  his  talents.  This 
led  to  the  unfortunate  experiment  of  Eclecti- 
cism which  checked  the  purely  organic  develop- 
ment of  the  separate  schools.  It  brought  about 
their  fusion  into  an  art  which  no  longer  ap- 
pealed to  the  Italian  people,  as  did  the  art 
which  sprang  naturally  from  the  soil,  but  to  the 
small  class  of  dilettanti  who  considered  a knowl- 
edge of  art  as  one  of  the  birthrights  of  their 
social  position.  Venice,  however,  suffered  lit- 
tle from  Eclecticism,  perhaps  because  a strong 
sense  of  individuality  was  late  in  getting  there, 
and  by  that  time  the  painters  were  already  well 
enough  educated  in  their  craft  to  know  that 
they  had  little  to  learn  elsewhere.  The  one 


46 


Works  of 


Venetian  who  became  an  Eclectic,  remained 
in  spite  of  it  a great  painter.  Sebastiano  del 
Piombo  fell  under  the  influence  of  Michelan- 
gelo, but  while  this  influence  was  pernicious  in 
most  cases,  the  hand  that  had  learned  to  paint 
under  Bellini,  Cima,  and  Giorgione,  never 
wholly  lost  its  command  of  colour  and  tone. 

Tintoretto  stayed  at  home,  but  he  felt  in  his 
own  person  a craving  for  something  that  Titian 
could  not  teach  him.  The  Venice  he  was  born 
in  was  not  the  Venice  of  Titian’s  early  youth, 
and  his  own  adolescence  fell  in  the  period  when 
Spain  was  rapidly  making  herself  mistress  of 
Italy.  The  haunting  sense  of  powers  almost 
irresistible  gave  a terrible  fascination  to  Mich- 
elangelo’s works,  which  are  swayed  by  that 
sense  as  by  a demonic  presence.  Tintoretto 
felt  this  fascination  because  he  was  in  sympathy 
with  the  spirit  which  took  form  in  colossal  tor- 
soes  and  limbs.  To  him  these  were  not,  as 
they  were  to  Michelangelo’s  enrolled  followers, 
merely  new  patterns  after  which  to  model  the 
nude. 

But  beside  this  sense  of  overwhelming  power 
and  gigantic  force,  Tintoretto  had  to  an  even 
greater  degree  the  feeling  that  whatever  existed 
was  for  mankind  and  with  reference  to  man. 


The  Venetian  Painters 


47 


In  his  youth  people  were  once  more  turning  to 
religion,  and  in  Venice  poetry  was  making  its 
way  more  than  it  had  previously  done,  not 
only  because  Venice  had  become  the  refuge  of 
men  of  letters,  but  also  because  of  the  diffusion 
of  printed  books.  Tintoretto  took  to  the  new 
feeling  for  religion  and  poetry  as  to  his  birth- 
right. Yet  whether  classic  fable  or  biblical 
episode  were  the  subject  of  his  art,  Tintoretto 
coloured  it  with  his  feeling  for  the  human  life 
at  the  heart  of  the  story.  His  sense  of  power 
did  not  express  itself  in  colossal  nudes  so  much 
as  in  the  immense  energy,  in  the  glowing 
health  of  the  figures  he  painted,  and  more  still 
in  his  effects  of  light,  which  he  rendered  as  if 
he  had  it  in  his  hands  to  brighten  or  darken 
the  heavens  at  will  and  subdue  them  to  his 
own  moods. 

He  could  not  have  accomplished  this,  we 
may  be  sure,  if  he  had  not  had  even  greater 
skill  than  Titian  in  the  treatment  of  light  and 
shadow  and  of  atmosphere.  It  was  this  which 
enabled  him  to  give  such  living  versions  of 
biblical  stories  and  saintly  legends.  For, 
granting  that  an  effect  of  reality  were  attainable 
in  painting  without  an  adequate  treatment  of 
light  and  atmosphere,  even  then,  the  reality 


48 


Works  of 


would  look  hideous,  as  it  does  in  many  modern 
painters  who  attempt  to  paint  people  of  to-day 
in  their  every-day  dress  and  among  their  usual 
surroundings.  It  is  not  “ Realism”  which 
makes  such  pictures  hideous,  but  the  want  of 
that  toning  down  which  the  atmosphere  gives 
to  things  in  life,  and  of  that  harmonising  to 
which  the  light  subjects  all  colours. 

It  was  a great  mastery  of  light  and  shadow 
which  enabled  Tintoretto  to  put  into  his  pict- 
ures all  the  poetry  there  was  in  his  soul  with- 
out once  tempting  us  to  think  that  he  might 
have  found  better  expression  in  words.  The 
poetry  which  quickens  most  of  his  works  in  the 
Scuola  di  San  Rocco  is  almost  entirely  a matter 
of  light  and  colour.  What  is  it  but  the  light 
that  changes  the  solitudes  in  which  the  Mag- 
dalen and  St.  Mary  of  Egypt  are  sitting,  into 
dream-lands  seen  by  poets  in  their  moments  of 
happiest  inspiration  ? What  but  light  and 
colour,  the  gloom  and  chill  of  evening,  with  the 
white-stoled  figure  standing  resignedly  before 
the  judge,  that  give  the  “ Christ  before  Pilate  ” 
its  sublime  magic?  What,  again,  but  light, 
colour,  and  the  star-procession  of  cherubs  that 
imbue  the  realism  of  the  “ Annunciation  ” with 
music  which  thrills  us  through  and  through  ? 


Portrait  of  a Lady  ( not  finished ). 

Picture  in  the  Quirini- Stampalia  Gallery , 


By  Palma. 

Venice. 


The  Venetian  Painters 


49 


Religion  and  poetry  did  not  exist  for  Tinto- 
retto because  the  love  and  cultivation  of  the 
Muses  was  a duty  prescribed  by  the  Greeks 
and  Romans,  and  because  the  love  of  God  and 
the  saints  was  prescribed  by  the  Church  ; but 
rather,  as  was  the  case  with  the  best  people  of 
his  time,  because  both  poetry  and  religion  were 
useful  to  man.  They  helped  him  to  forget 
what  was  mean  and  sordid  in  life,  they  braced 
him  to  his  task,  and  consoled  him  for  his  dis- 
appointments. Religion  answered  to  an  ever- 
living  need  of  the  human  heart.  The  Bible 
was  no  longer  a mere  document  wherewith  to 
justify  Christian  dogma.  It  was  rather  a series 
of  parables  and  symbols  pointing  at  all  times 
to  the  path  that  led  to  a finer  and  nobler  life. 
Why  then  continue  to  picture  Christ  and  the 
Apostles,  the  Patriarchs  and  Prophets,  as  per- 
sons living  under  Roman  rule,  wearing  the 
Roman  toga,  and  walking  about  in  the  land- 
scape of  a Roman  bas-relief?  Christ  and  the 
Apostles,  the  Patriarchs  and  Prophets,  were 
the  embodiment  of  living  principles  and  of 
living  ideals.  Tintoretto  felt  this  so  vividly 
that  he  could  not  think  of  them  otherwise  than 
as  people  of  his  own  kind,  living  under  condi- 
tions easily  intelligible  to  himself  and  to  his 


5° 


Works  of 


fellow-men.  Indeed,  the  more  intelligible  and 
the  more  familiar  the  look  and  garb  and  sur- 
roundings of  biblical  and  saintly  personages, 
the  more  would  they  drive  home  the  principles 
and  ideas  they  incarnated.  So  Tintoretto  did 
not  hesitate  to  turn  every  biblical  episode  into 
a picture  of  what  the  scene  would  look  like  had 
it  taken  place  under  his  own  eyes,  nor  to  tinge 
it  with  his  own  mood. 

His  conception  of  the  human  form  was,  it  is 
true,  colossal,  although  the  slender  elegance  that 
was  then  coming  into  fashion,  as  if  in  protest 
against  physical  force  and  organisation,  influ- 
enced him  considerably  in  his  construction  of 
the  female  figure ; but  the  effect  which  he 
must  always  have  produced  upon  his  contem- 
poraries, and  which  most  of  his  works  still  pro- 
duce, is  one  of  astounding  reality  as  well  as  of 
wide  sweep  and  power.  Thus,  in  the  “ Dis- 
covery of  the  Body  of  St.  Mark,”  in  the  Brera, 
and  in  the  “ Storm  Rising  while  the  Corpse  is 
being  Carried  through  the  Streets  of  Alexan- 
dria,” in  the  Royal  Palace  at  Venice,  the  fig- 
ures, although  colossal,  are  so  energetic  and  so 
easy  in  movement,  and  the  effects  of  perspec- 
tive and  of  light  and  atmosphere  are  so  on  a 
level  with  the  gigantic  figures,  that  the  eye  at 


The  Venetian  Painters 


51 


once  adapts  itself  to  the  scale,  and  you  feel  as 
if  you  too  partook  of  the  strength  and  health 
of  heroes. 

That  feeling  for  reality  which  made  the 
great  painters  look  upon  a picture  as  the  re- 
presentation of  a cubic  content  of  atmosphere 
enveloping  all  the  objects  depicted,  made  them 
also  consider  the  fact  that  the  given  quantity 
of  atmosphere  is  sure  to  contain  other  objects 
than  those  the  artist  wants  for  his  purpose. 
He  is  free  to  leave  them  out,  of  course,  but  in 
so  far  as  he  does,  so  far  is  he  from  producing 
an  effect  of  reality.  The  eye  does  not  see 
everything,  but  all  the  eye  would  naturally  see 
along  with  the  principal  objects,  must  be 
painted,  or  the  picture  will  not  look  true  to 
life.  This  incorporation  of  small  episodes  run- 
ning parallel  with  the  subject  rather  than  form- 
ing part  of  it,  is  one  of  the  chief  characteristics 
of  modern  as  distinguished  from  ancient  art. 
It  is  this  which  makes  the  Elizabethan  drama 
so  different  from  the  Greek.  It  is  this  again 
which  already  separates  the  works  of  Duccio 
and  Giotto  from  the  plastic  arts  of  Antiquity. 
Painting  lends  itself  willingly  to  the  considera- 
tion of  minor  episodes,  and  for  that  reason  is 
almost  as  well  fitted  to  be  in  touch  with  mod- 


52 


Works  of 


era  life  as  the  novel  itself.  Such  a treatment 
saves  a picture  from  looking  prepared  and  cold, 
just  as  light  and  atmosphere  save  it  from 
rigidity  and  crudeness. 

No  better  illustration  of  this  can  be  found 
among  Italian  masters  than  Tintoretto’s  “ Cru- 
cifixion” in  the  Scuola  di  San  Rocco.  The 
scene  is  a vast  one,  and  although  Christ  is  on 
the  Cross,  life  does  not  stop.  To  most  of  the 
people  gathered  there,  what  takes  place  is  no 
more  than  a common  execution.  Many  of  them 
are  attending  to  it  as  to  a tedious  duty.  Others 
work  away  at  some  menial  task  more  or  less 
connected  with  the  Crucifixion,  as  unconcerned 
as  cobblers  humming  over  their  last.  Most  of 
the  people  in  the  huge  canvas  are  represented, 
as  no  doubt  they  were  in  life,  without  much  per- 
sonal feeling  about  Christ.  His  own  friends  are 
painted  with  all  their  grief  and  despair,  but  the 
others  are  allowed  to  feel  as  they  please.  The 
painter  does  not  try  to  give  them  the  proper 
emotions.  If  one  of  the  great  novelists  of  to- 
day, if  Tolstoi,  for  instance,  were  to  describe  the 
Crucifixion,  his  account  would  read  as  if  it  were 
a description  of  Tintoretto’s  picture.  But  Tin- 
toretto’s fairness  went  even  further  than  letting 
all  the  spectators  feel  as  they  pleased  about 


The  Venetian  Painters 


53 


what  he  himself  believed  to  be  the  greatest 
event  that  ever  took  place.  Among  this  multi- 
tude he  allowed  the  light  of  heaven  to  shine 
upon  the  wicked  as  well  as  upon  the  good,  and 
the  air  to  refresh  them  all  equally.  In  other 
words,  this  enormous  canvas  is  a great  sea  of 
air  and  light  at  the  bottom  of  which  the  scene 
takes  place.  Without  the  atmosphere  and  the 
just  distribution  of  light,  it  would  look  as  life- 
less and  desolate,  in  spite  of  the  crowd  and  ani- 
mation, as  if  it  were  the  bottom  of  a dried  up 
sea. 

While  all  these  advances  were  being  made, 
the  art  of  portraiture  had  not  stood  still.  Its 
popularity  had  only  increased  as  the  years 
went  on.  Titian  was  too  busy  with  commis- 
sions for  foreign  princes  to  supply  the  great 
demand  there  was  in  Venice  alone.  Tintoretto 
painted  portraits  not  only  with  much  of  the 
air  of  good  breeding  of  Titian’s  likenesses,  but 
with  even  greater  splendour,  and  with  an 
astonishing  rapidity  of  execution.  The  Vene- 
tian portrait,  it  will  be  remembered,  was  ex- 
pected to  be  more  than  a likeness.  It  was 
expected  to  give  pleasure  to  the  eye,  and  to 
stimulate  the  emotions.  Tintoretto  was  ready 
to  give  ample  satisfaction  to  all  such  expecta- 


54 


Works  of 


tions.  His  portraits,  although  they  are  not  so 
individualised  as  Lotto’s,  nor  such  close  studies 
of  character  as  Titian’s,  always  render  the  man 
at  his  best,  in  glowing  health,  full  of  life  and 
determination.  They  give  us  the  sensuous 
pleasure  we  get  from  jewels,  and  at  the  same 
time  they  make  us  look  back  with  amazement 
to  a State  where  the  human  plant  was  in 
such  vigour  as  to  produce  old  men  of  the 
kind  represented  in  most  of  Tintoretto’s  por- 
traits. 

With  Tintoretto  ends  the  universal  interest 
the  Venetian  school  arouses  ; for  although 
painting  does  not  deteriorate  in  a day  any  more 
than  it  grows  to  maturity  in  the  same  brief 
moment,  the  story  of  the  decay  has  none  of 
the  fascination  of  the  growth.  But  several 
artists  remain  to  be  considered  who  were  not 
of  the  Venetian  school  in  the  strict  sense  of 
the  term,  but  who  have  always  been  included 
within  it. 

The  Venetian  provinces  were  held  together 
not  merely  by  force  of  rule.  In  language  and 
feeling  no  less  than  in  government,  they  formed 
a distinct  unit  within  the  Italian  peninsula. 
Painting  being  so  truly  a product  of  the  soil 
as  it  was  in  Italy  during  the  Renaissance,  the 


Portrait  of  Laura  di  Pola.  By  Lotto. 

Picture  in  the  Brer  a,  Milan. 


The  Venetian  Painters 


55 


art  of  the  provinces  could  not  help  holding  the 
same  close  relation  to  the  art  of  Venice  that 
their  language  and  modes  of  feeling  held.  But 
a difference  must  be  made  at  once  between 
towns  like  Verona,  with  a school  of  at  least  as 
long  a growth  and  with  as  independent  an  evo- 
lution as  the  school  of  Venice  itself,  and  towns 
like  Vicenza  and  Brescia  whose  chief  painters 
never  developed  quite  independently  of  Venice 
or  Verona.  What  makes  Romanino  and  Mo- 
retto  of  Brescia,  or  even  the  powerful  Mon- 
tagna of  Vicenza,  except  when  they  are  at 
their  very  best,  so  much  less  enjoyable  as  a rule 
than  the  Venetians — that  is  to  say  the  paint- 
ers wholly  educated  in  Venice — is  something 
they  have  in  common  with  the  Eclectics  of 
a later  day.  They  are  ill  at  ease  about  their  art, 
which  is  no  longer  the  utterly  unpremeditated 
outcome  of  a natural  impulse.  They  saw  greater 
painting  than  their  own  in  Venice  and  Verona, 
and  not  unfrequently  their  own  works  show  an 
uncouth  attempt  to  adopt  that  greatness,  which 
comes  out  in  exaggeration  of  colour  even  more 
than  of  form,  and  speaks  for  that  want  of  taste 
which  is  the  indelible  stamp  of  provincial- 
ism. But  there  were  Venetian  towns  without 
the  traditions  even  of  the  schools  of  Vicenza 


56 


Works  of 


and  Brescia,  where,  if  you  wanted  to  learn 
painting,  you  had  to  apprentice  yourself  to 
somebody  who  had  been  taught  by  somebody 
who  had  been  a pupil  of  one  of  Giovanni 
Bellini’s  pupils.  This  was  particularly  true  of 
the  towns  in  that  long  stretch  of  plain  between 
the  Julian  Alps  and  the  sea,  known  as  Friuli. 
Friuli  produced  one  painter  of  remarkable 
talents  and  great  force,  Giovanni  Antonio 
Pordenone,  but  neither  his  talents  nor  his  force, 
nor  even  later  study  in  Venice,  could  erase 
from  his  works  that  stamp  of  provincialism 
which  he  inherited  from  his  first  provincial 
master. 

Such  artists  as  these,  however,  never  gained 
great  favour  in  the  capital.  Those  whom 
Venice  drew  to  herself  when  her  own  strength 
was  waning  and  when,  like  Rome  in  her  decline, 
she  began  to  absorb  into  herself  the  talent  of 
the  provinces,  were  rather  painters  such  as 
Paolo  Veronese  whose  art,  although  of  inde- 
pendent growth,  was  sufficiently  like  her  own 
to  be  readily  understood,  or  painters  with  an 
entirely  new  vein,  such  as  the  Bassani. 

Paolo  was  the  product  of  four  or  five  genera- 
tions of  Veronese  painters,  the  first  two  or 
three  of  which  had  spoken  the  language  of  the 


The  Venetian  Painters 


57 


whole  mass  of  the  people  in  a way  that  few 
other  artists  had  ever  done.  Consequently, 
in  the  early  Renaissance,  there  were  no  painters 
in  the  North  of  Italy,  and  few  even  in  Florence, 
who  were  not  touched  by  the  influence  of  the 
Veronese.  But  Paolo’s  own  immediate  pre- 
decessors were  no  longer  able  to  speak  the 
language  of  the  whole  mass  of  the  people. 
There  was  one  class  they  left  out  entirely,  the 
class  to  whom  Titian  and  Tintoretto  appealed 
so  strongly,  the  class  that  ruled,  and  that 
thought  in  the  ■ new  way.  Verona,  being  a 
dependency  of  Venice,  did  no  ruling,  and  cer- 
tainly not  at  all  so  much  thinking  as  Venice, 
and  life  there  continued  healthful,  simple, 
unconscious,  untroubled  by  the  approaching 
storm  in  the  world’s  feelings.  But  although 
thought  and  feeling  may  be  slow  in  invading 
a town,  fashion  comes  there  quickly.  Spanish 
fashions  in  dress,  and  Spanish  ceremonial  in 
manners  reached  Verona  soon  enough,  and  in 
Paolo  Caliari  we  find  all  these  fashions  reflected, 
but  health,  simplicity,  and  unconsciousness  as 
well.  This  combination  of  seemingly  opposite 
qualities  forms  his  great  charm  for  us  to-day, 
and  it  must  have  proved  as  great  an  attraction 
to  many  of  the  Venetians  of  his  own  time,  for 


58 


Works  of 


they  were  already  far  enough  removed  from 
simplicity  to  appreciate  to  the  full  his  singularly 
happy  combination  of  ceremony  and  splendour 
with  an  almost  childlike  naturalness  of  feeling. 
Perhaps  among  his  strongest  admirers  were 
the  very  men  who  most  appreciated  Titian’s 
distinction  and  Tintoretto’s  poetry.  But  it  is 
curious  to  note  that  Paoli’s  chief  employers 
were  the  monasteries.  His  cheerfulness,  and 
his  frank  and  joyous  worldliness,  the  qualities, 
in  short,  which  we  find  in  his  huge  pictures  of 
feasts,  seem  to  have  been  particularly  welcome 
to  those  who  were  expected  to  make  their 
meat  and  drink  of  the  very  opposite  qualities. 
This  is  no  small  comment  on  the  times,  and 
shows  how  thorough  had  been  the  permeation 
of  the  spirit  of  the  Renaissance  when  even 
the  religious  orders  gave  up  their  pretence  to 
asceticism  and  piety. 

Venetian  painting  would  not  have  been  the 
complete  expression  of  the  riper  Renaissance 
if  it  had  entirely  neglected  the  country.  City 
people  have  a natural  love  of  the  country,  but 
when  it  was  a matter  of  doubt  whether  a man 
would  ever  return  if  he  ventured  out  of  the 
town-gates,  as  was  the  case  in  the  Middle  Ages, 
this  love  had  no  chance  of  showing  itself.  It 


The  Venetian  Painters 


59 


had  to  wait  until  the  country  itself  was  safe 
for  wayfarers,  a state  of  things  which  came 
about  in  Italy  with  the  gradual  submission  of 
the  country  to  the  rule  of  the  neighbouring 
cities  and  with  the  general  advance  of  civilisa- 
tion. During  the  Renaissance  the  love  of  the 
country  and  its  pleasures  received  an  immense 
impulse  from  Latin  authors.  What  the  great 
Romans  without  exception  recommended,  an 
Italian  was  not  slow  to  adopt,  particularly  when, 
as  in  this  case,  it  harmonised  with  natural  in- 
clination and  with  an  already  common  prac- 
tice. It  was  the  usual  thing  with  those  who 
could  afford  to  do  so  to  retire  to  the  villa  for  a 
large  part  of  the  year.  Classic  poets  helped 
such  Italians  to  appreciate  the  simplicity  of 
the  country  and  to  feel  a little  of  its  beauty. 
Many  took  such  delight  in  country  life  that 
they  wished  to  have  reminders  of  it  in  town. 
It  may  have  been  in  response  to  some  such 
half  formulated  wish  that  Palma  began  to 
paint  his  “Sante  Conversazioni,” — groups  of 
saintly  personages  gathered  under  pleasant 
trees  in  pretty  landscapes.  His  pupil,  Boni- 
fazio,  continued  the  same  line,  gradually,  how- 
ever, discarding  the  traditional  group  of 
Madonna  and  saints,  and,  under  such  titles 


6o 


Works  of 


as  “The  Rich  Man’s  Feast”  or  “The  Find- 
ing of  Moses,”  painting  all  the  scenes  of 
fashionable  country  life,  music  on  the  terrace 
of  a villa,  hunting  parties,  and  picnics  in  the 
forest. 

Bonifazio’s  pupil,  Jacopo  Bassano,  no  less 
fond  of  painting  country  scenes,  did  not  how- 
ever confine  himself  to  representing  city  people 
in  their  parks.  His  pictures  were  for  the  in- 
habitants of  the  small  market-town  from  which 
he  takes  his  name,  where  inside  the  gates 
you  still  see  men  and  women  in  rustic  garb 
crouching  over  their  many-coloured  wares  ; and 
where,  just  outside  the  walls,  you  may  see  all 
the  ordinary  occupations  connected  with  farm- 
ing and  grazing.  Inspired,  although  unawares, 
by  the  new  idea  of  giving  perfectly  modern 
versions  of  biblical  stories,  Bassano  intro- 
duced into  nearly  every  picture  he  painted 
episodes  from  the  life  in  the  streets  of  Bassano, 
and  in  the  country  just  outside  the  gates.  Even 
Orpheus  in  his  hands  becomes  a farmer’s  lad 
fiddling  to  the  barnyard  fowls. 

Bassano’s  pictures  and  those  of  his  two  sons, 
who  followed  him  very  closely,  found  great 
favour  in  Venice  and  elsewhere,  because  they 
were  such  unconscious  renderings  of  simple 


J 


St.  Jerome  in  His  Study.  By  A ntonello  da  Messina. 

Picture  in  National  Gallery , London. 


* 


The  Venetian  Painters 


61 


country  life,  a kind  of  life  whose  charm  seemed 
greater  and  greater  the  more  fashionable  and 
ceremonious  private  life  in  the  city  became. 
But  this  was  far  from  being  their  only  charm. 
Just  as  the  Church  had  educated  people  to 
understand  painting  as  a language,  so  the  love 
of  all  the  pleasant  things  that  painting  sug- 
gested led  in  time  to  the  love  of  this  art  as  its 
own  end,  serving  no  obvious  purpose  either  of 
decoration  or  suggestion,  but  giving  pleasure 
by  the  skilful  management  of  light  and  shadow, 
and  by  the  intrinsic  beauty  of  the  colours. 
The  third  quarter  of  the  sixteenth  century  thus 
saw  the  rise  of  the  picture-fancier,  and  the  suc- 
cess of  the  Bassani  was  so  great  because  they 
appealed  to  this  class  in  a special  way.  In 
Venice  there  had  long  been  a love  of  objects 
for  their  sensuous  beauty.  At  an  early  date  the 
Venetians  had  perfected  an  art  in  which  there 
is  scarcely  any  intellectual  content  whatever, 
and  in  which  colour,  jewel-like  or  opaline,  is 
almost  everything.  Venetian  glass  was  at  the 
same  time  an  outcome  of  the  Venetians’  love 
of  sensuous  beauty  and  a continual  stimulant 
to  it.  Pope  Paul  II.,  for  example,  who  was  a 
Venetian,  took  such  a delight  in  the  colour  and 
glow  of  jewels,  that  he  was  always  looking  at 


62 


Works  of 


them  and  always  handling  them.  When  paint- 
ing, accordingly,  had  reached  the  point  where 
it  was  no  longer  dependent  upon  the  Church, 
nor  even  expected  to  be  decorative,  but  when 
it  was  used  purely  for  pleasure,  the  day  could 
not  be  far  distant  when  people  would  expect 
painting  to  give  them  the  same  enjoyment  they 
received  from  jewels  and  glass.  In  Bassano’s 
works  this  taste  found  full  satisfaction.  Most 
of  his  pictures  seem  at  first  as  dazzling,  then 
as  cooling  and  soothing,  as  the  best  kind  of 
stained  glass  ; while  the  colouring  of  details, 
particularly  of  those  under  high  lights,  is  jewel- 
like, as  clear  and  deep  and  satisfying  as  rubies 
and  emeralds. 

It  need  scarcely  be  added  after  all  that  has 
been  said  about  light  and  atmosphere  in  con- 
nection with  Titian  and  Tintoretto,  and  their 
handling  of  real  life,  that  Bassano’s  treatment 
of  both  was  even  more  masterly.  If  this  were 
not  so,  neither  picture-fanciers  of  his  own  time, 
nor  we  nowadays,  should  care  for  his  works  as 
we  do.  They  represent  life  in  far  more  hum- 
ble phases  than  even  the  pictures  of  Tintoretto, 
and,  without  recompensing  effects  of  light  and 
atmosphere,  they  would  not  be  more  enjoyable 
than  the  cheap  work  of  the  smaller  Dutch  mas- 


The  Venetian  Painters 


63 


ters.  It  must  be  added,  too,  that  without  his 
jewel-like  colouring,  Bassano  would  often  be 
no  more  delightful  than  Teniers. 

Another  thing  Bassano  could  not  fail  to  do, 
working  as  he  did  in  the  country,  and  for 
country  people,  was  to  paint  landscape.  He 
had  to  paint  the  real  country,  and  his  skill  in 
the  treatment  of  light  and  atmosphere  was 
great  enough  to  enable  him  to  do  it  well. 
Bassano  was  in  fact  the  first  modern  landscape 
painter.  Titian  and  Tintoretto  and  Giorgione, 
and  even  Bellini  and  Cima  before  them,  had 
painted  beautiful  landscapes,  but  they  were 
seldom  direct  studies  from  nature.  They  were 
decorative  backgrounds,  or  fine  harmonising 
accompaniments  to  the  religious  or  human  ele- 
ments of  the  picture.  They  never  failed  to 
get  grand  and  effective  lines — a setting  worthy 
of  the  subject.  Bassano  did  not  need  such 
setting  for  his  country  versions  of  Bible  stories, 
and  he  needed  them  even  less  in  his  studies  of 
rural  life.  For  pictures  of  this  kind  the  coun- 
try itself  naturally  seemed  the  best  background 
and  the  best  accompaniment  possible, — indeed, 
the  only  kind  desirable.  Without  knowing  it, 
therefore,  and  without  intending  it,  Bassano 
was  the  first  Italian  who  tried  to  paint  the 


64 


Works  of 


country  as  it  really  is,  and  not  arranged  to 
look  like  scenery. 

Had  Bassano’s  qualities,  however,  been  of 
the  kind  that  appealed  only  to  the  collectors 
of  his  time,  he  would  scarcely  rouse  the  strong 
interest  we  take  in  him.  We  care  for  him 
chiefly  because  he  has  so  many  of  the  more 
essential  qualities  of  great  art — truth  to  life, 
and  spontaneity.  He  has  another  interest  still, 
in  that  he  began  to  beat  out  the  path  which 
ended  at  last  in  Velasquez.  Indeed,  one  of  the 
attractions  of  the  Venetian  school  of  painting 
is  that,  more  than  all  others,  it  went  to  form 
that  great  Spanish  master.  He  began  as  a 
sort  of  follower  of  Bassano,  but  his  style  was 
not  fixed  before  he  had  given  years  of  study  to 
Veronese,  to  Tintoretto,  and  to  Titian. 

Bassano  appealed  to  collectors  by  mere  acci- 
dent. He  certainly  did  not  work  for  them. 
The  painters  who  came  after  him  and  after 
Tintoretto  no  longer  worked  unconsciously,  as 
Veronese  did,  nor  for  the  whole  intelligent 
class,  as  Titian  and  Tintoretto  had  done,  but 
for  people  who  prided  themselves  on  their 
connoisseurship. 

Palma  the  Younger  and  Domenico  Tintoretto 
began  well  enough  as  natural  followers  of 


The  Venetian  Painters 


65 


Tintoretto,  but  before  long  they  became  aware 
of  their  inferiority  to  the  masters  who  had  pre- 
ceded them,  and,  feeling  no  longer  the  strength 
to  go  beyond  them,  fell  back  upon  painting 
variations  of  those  pictures  of  Tintoretto  and 
Titian  which  had  proved  most  popular.  So 
their  works  recall  the  great  masters,  but  only 
to  bring  out  their  own  weakness.  Padovanino, 
Liberi,  and  Pietro  della  Vecchia  went  even 
lower  down  and  shamelessly  manufactured  pic- 
tures which,  in  the  distant  markets  for  which 
they  were  intended,  passed  for  works  of  Titian, 
Veronese,  and  Giorgione.  Nor  are  these  pic- 
tures altogether  unenjoyable.  There  are  airs 
by  the  great  composers  we  so  love  that  we 
enjoy  them  even  when  woven  into  the  com- 
positions of  some  third-rate  master. 

But  Venetian  painting  was  not  destined  to 
die  unnoticed.  In  the  eighteenth  century,  be- 
fore the  Republic  entirely  disappeared,  Venice 
produced  three  or  four  painters  who  deserve  at 
the  least  a place  with  the  best  painters  of  that 
century.  The  constitution  of  the  Venetian 
State  had  remained  unchanged.  Magnificent 
ceremonies  still  took  place,  Venice  was  still  the 
most  splendid  and  the  most  luxurious  city  in 
the  world.  If  the  splendour  and  luxury  were 


66 


Works  of 


hollow,  they  were  not  more  so  than  elsewhere 
in  Europe.  The  eighteenth  century  had  the 
strength  which  comes  from  great  self-confidence 
and  profound  satisfaction  with  one’s  surround- 
ings. It  was  so  self-satisfied  that  it  could  not 
dream  of  striving  to  be  much  better  than  it 
was.  Everything  was  just  right ; there  seemed 
to  be  no  great  issues,  no  problems  arising  that 
human  intelligence  untrammelled  by  supersti- 
tion could  not  instantly  solve.  Everybody  was 
therefore  in  holiday  mood,  and  the  gaiety  and 
frivolity  of  the  century  were  of  almost  as  much 
account  as  its  politics  and  culture.  There  was 
no  room  for  great  distinctions.  Hair-dressers 
and  tailors  found  as  much  consideration  as 
philosophers  and  statesmen  at  a lady’s  levee. 
People  were  delighted  with  their  own  occupa- 
tions, their  whole  lives  ; and  whatever  people 
delight  in,  that  they  will  have  represented  in 
art.  The  love  for  pictures  was  by  no  means 
dead  in  Venice,  and  Longhi  painted  for  the 
picture-loving  Venetians  their  own  lives  in  all 
their  ordinary  domestic  and  fashionable  phases. 
In  the  hair-dressing  scenes  we  hear  the  gossip 
of  the  periwigged  barber ; in  the  dressmaking 
scenes,  the  chatter  of  the  maid  ; in  the  dancing- 
school,  the  pleasant  music  of  the  violin.  There 


The  Dream  of  St.  Ursula.  By  Carpaccio. 

Picture  in  the  Academy , Venice . 


* 


The  Venetian  Painters 


67 


is  no  tragic  note  anywhere.  Everybody  dresses, 
dances,  makes  bows,  takes  coffee,  as  if  there 
were  nothing  else  in  the  world  that  wanted 
doing.  A tone  of  high  courtesy,  of  great  re- 
finement, coupled  with  an  all-pervading  cheer- 
fulness, distinguishes  Longhi’s  pictures  from 
the  works  of  Hogarth,  at  once  so  brutal  and 
so  full  of  presage  of  change. 

Venice  herself  had  not  grown  less  beautiful 
in  her  decline.  Indeed,  the  building  which 
occupies  the  very  centre  of  the  picture  Venice 
leaves  in  the  mind,  the  Salute,  was  not  built 
until  the  seventeenth  century.  This  was  the 
picture  that  the  Venetian  himself  loved  to  have 
painted  for  him,  and  that  the  stranger  wanted 
to  carry  away.  Canale  painted  Venice  with  a 
feeling  for  space  and  atmosphere,  with  a mas- 
tery over  the  delicate  effects  of  mist  peculiar  to 
the  city,  that  make  his  views  of  the  Salute,  the 
Grand  Canal,  and  the  Piazzetta  still  seem  more 
like  Venice  than  all  the  pictures  of  them  that  have 
been  painted  since.  Later  in  the  century  Canale 
was  followed  by  Guardi,  who  executed  smaller 
views  with  more  of  an  eye  for  the  picturesque, 
and  for  what  may  be  called  instantaneous  effects, 
thus  anticipating  both  the  Romantic  and  the 
Impressionist  painters  of  our  own  century. 


68 


Works  of 


But  delightful  as  Longhi,  Canale,  and  Guardi 
are,  and  imbued  as  they  are  with  the  spirit  of 
their  own  century,  they  lack  the  quality  of  force, 
without  which  there  can  be  no  really  impress- 
ive style.  This  quality  their  contemporary 
Tiepolo  possessed  to  the  utmost.  His  energy, 
his  feeling  for  splendour,  his  mastery  over  his 
craft,  place  him  almost  on  a level  with  the 
great  Venetians  of  the  sixteenth  century,  al- 
though he  never  allows  one  to  forget  what 
he  owes  to  them,  particularly  to  Veronese. 
The  grand  scenes  he  paints  differ  from  those 
of  his  predecessor  not  so  much  in  mere  inferi- 
ority of  workmanship,  as  in  a lack  of  that  sim- 
plicity and  candour  which  never  failed  Paolo, 
no  matter  how  proud  the  event  he  might  be 
portraying.  Tiepolo’s  people  are  haughty,  as 
if  they  felt  that  to  keep  a firm  hold  on  their 
dignity  they  could  not  for  a moment  relax 
their  faces  and  figures  from  a monumental  look 
and  bearing.  They  evidently  feel  themselves 
so  superior  that  they  are  not  pleasant  to  live 
with,  although  they  carry  themselves  so  well, 
and  are  dressed  with  such  splendour,  that  once 
in  a while  it  is  a great  pleasure  to  look  at  them. 
It  was  Tiepolo’s  vision  of  the  world  that  was 
at  fault,  and  his  vision  of  the  world  was  at 


The  Venetian  Painters 


69 


fault  only  because  the  world  itself  was  at  fault. 
Paolo  saw  a world  touched  only  by  the  fash- 
ions of  the  Spanish  Court,  while  Tiepolo  lived 
among  people  whose  very  hearts  had  been 
vitiated  by  its  measureless  haughtiness. 

But  Tiepolo’s  feeling  for  strength,  for  move- 
ment, and  for  colour  was  great  enough  to  give 
a new  impulse  to  art.  At  times  he  seems  not 
so  much  the  last  of  the  old  masters  as  the  first 
of  the  new.  The  works  he  left  in  Spain  do 
more  than  a little  to  explain  the  revival  of 
painting  in  that  country  under  Goya  ; and  Goya, 
in  his  turn,  had  a great  influence  upon  many 
of  the  best  French  artists  of  our  own  times. 

Thus,  Venetian  painting  before  it  wholly 
died,  flickered  up  again  strong  enough  to  light 
the  torch  that  is  burning  so  steadily  now.  In- 
deed, not  the  least  attraction  of  the  Venetian 
masters  is  their  note  of  modernity,  by  which  I 
mean  the  feeling  they  give  us  that  they  were 
on  the  high  road  to  the  art  of  to-day.  We 
have  seen  how  on  two  separate  occasions  Ve- 
netian painters  gave  an  impulse  to  Spaniards, 
who  in  turn  have  had  an  extraordinary  influ- 
ence on  modern  painting.  It  would  be  easy, 
too,  although  it  is  not  my  purpose,  to  show 
how  much  other  schools  of  the  seventeenth 


70 


The  Venetian  Painters 


and  eighteenth  centuries,  such  as  the  Flemish, 
led  by  Rubens,  and  the  English,  led  by  Rey- 
nolds, owed  to  the  Venetians.  My  endeavour 
has  been  to  explain  some  of  the  attractions  of 
the  school,  and  particularly  to  show  its  close 
dependence  upon  the  thought  and  feeling  of 
the  Renaissance.  This  is  perhaps  its  greatest 
interest,  for  being  such  a complete  expression 
of  the  riper  spirit  of  the  Renaissance,  it  helps 
us  to  a larger  understanding  of  a period  which 
has  in  itself  the  fascination  of  youth,  and  which 
is  particularly  attractive  to  us,  because  the 
spirit  that  animates  us  is  singularly  like  the 
better  spirit  of  that  epoch.  We,  too,  are  pos- 
sessed of  boundless  curiosity.  We,  too,  have 
an  almost  intoxicating  sense  of  human  capacity. 
We,  too,  believe  in  a great  future  for  human- 
ity, and  nothing  has  yet  happened  to  check 
our  delight  in  discovery  or  our  faith  in  life. 


INDEX  TO  THE  WORKS  OF  THE  PRINCIPAL 
VENETIAN  PAINTERS. 


NOTE. 

Public  galleries  are  mentioned  first,  then  private  collections,  and  churches  last. 
The  principal  public  gallery  is  always  understood  after  the  simple  mention  of  a 
city  or  town.  Thus,  Paris  means  Paris,  Louvre,  London  means  London,  Na- 
tional Gallery,  etc. 

An  interrogation  point  after  the  number  or  title  of  a picture  indicates  that  its 
attribution  to  the  given  painter  is  doubtful. 

Distinctly  early  or  late  works  are  marked  E.  or  L. 

It  need  scarcely  be  said  that  the  attributions  here  given  are  not  based  on  offi- 
cial catalogues,  and  are  often  at  variance  with  them. 


ANTONELLO  DA  MESSINA. 


B.  circa  1444  : d.  circa  1493.  Began  under  unknown  Flemish  painter  ; influ- 
enced by  the  Vivarini  and  Bellini. 


Antwerp. 

Bergamo. 

Berlin. 


Dresden. 

London. 


4.  Crucifixion,  1475. 

Lochis,  222.  St.  Sebastian. 

18.  Portrait  of  Young  Man,  1478. 
i8A.  Portrait  of  Young  man,  1474. 

25.  Portrait  of  Young  Man  in  Red  Coat. 

52.  St.  Sebastian. 

673.  The  Saviour,  1465.  1141.  Portrait  of  Man. 
1166.  Crucifixion,  1477.  1418.  St.  Jerome  in 

his  Study. 

Madonna  with  SS.  Gregory  and  Benedict,  1473. 

71 


Messina. 


72 

Works  of 

Milan. 

Museo  Civico,  95.  Portrait  of  Man  wearing 
Wreath. 

Prince  Trivulzio,  Portrait  of  Man,  1476. 

Naples. 

Paris. 

Rome. 

Venice. 

Sala  Grande,  16.  Portrait  of  Man. 
1134.  Condottiere,  1474. 

Villa  Borghese,  396.  Portrait  of  Man. 
Academy,  589.  Ecce  Homo. 
Giovanelli,  Portrait  of  Man. 

Vicenza. 

Sala  IV,  17.  Christ  at  Column. 
JACOPO  DI  BARBARI. 

1450  circa — 1516  circa.  Pupil  of  Alvise  Vivarini ; influenced  by 


Augsburg. 

Bergamo. 

Antonello  da  Messina. 

Still  Life  Piece,  1 504. 

Gallery  Lochis,  147,  148.  Heads  of  Young  Men. 
Frizzoni-Salis,  Head  of  Christ. 

Berlin. 

Dresden. 

26a.  Madonna  and  Saints. 

37.  Christ  Blessing. 

58,  59.  SS.  Catherine  and  Barbara. 
294.  Galeta.  L. 

Florence. 

Hamburg. 

Pitti,  384.  St.  Sebastian. 

Consul  Weber,  24.  Old  Man  and  Young  Wo- 
man, 1303. 

London. 

Naples. 

Mr.  Doetscii,  Portrait  of  Young  Man.  L. 

Sala  degli  Olandesi  e Tedeschi,  31.  Bust  of  a 
Cardinal. 

Treviso. 

S.  Niccolo,  Frescos  around  Tomb  of  Onigo. 
18  Piazza  del  Duomo,  Frescoes  on  Facade. 

Venice. 

Lady  Layard,  A Falcon. 

Frari,  2d  Chapel  L.  of  Choir,  Decorative  Fres- 
coes. 

Vienna. 

Weimar. 

22.  Portrait  of  Young  Man. 
Head  of  Christ. 

A llegorical  Representation  of  Venus.  By  Giovanni 

Bellini. 

Picture  in  the  Acaaemy , Venice. 


* 


The  Venetian  Painters 


73 


BARTOLOMMEO  VENETO. 


Active  1505-1555.  Pupil  of  Gentile  Bellini;  influenced  by  Bergamask  and 

Milanese  painters. 


Belluno. 

Bergamo. 

Brussels. 

Douai. 

Dresden. 

Florence. 

Frankfort. 

Genoa. 

Glasgow. 

London. 


Milan. 


Nancy. 

Paris. 

Rome. 

Venice. 

Verona. 


22.  Madonna. 

Carrara,  185.  Landscape.  E. 

Lochis,  127.  Madonna,  1505. 

M.  Leon  Somzee,  Bust  of  a Venetian  Noble. 

324.  Portrait  of  a Young  Man. 

292.  Salome. 

Uffizi,  650.  Portrait  of  a Man,  1555. 

13.  Portrait  of  a Courtesan. 

20.  St.  Catherine. 

Prince  Giorgio  Doria,  Portrait  of  a Lady. 

510.  St.  Catherine  Crowned. 

287.  Portrait  of  Ludovico  Martinengo,  1530. 
Mr.  Benson,  Madonna  and  Angels.  E. 
Dorchester  House,  Portrait  of  a Man,  1512. 
Ambrosiana,  24.  Madonna.  Portrait  of  Man  in 
Black. 

Borromeo,  St.  Catherine. 

Duke  Melzi,  Jewess  breaking  her  Wedding  Ring. 
Portrait  of  Young  Man. 

1673.  Portrait  of  Lady. 

Corsini,  610.  Portrait  of  Young  Man. 

Doria,  482.  The  Saviour. 

Palazzo  Ducale,  Chapel,  Madonna. 

Madonna.  E. 


MARCO  BASAITI. 

Circa  1470-1527.  Pupil  of  Alvise  Vivarini ; follower  of  Bellini. 

Alnwick.  The  Duke  of  Northumberland,  A Bacchanal  of 
the  Gods  (the  figures  only). 

Badger  Hall  (Shropshire).  Mr.  F.  Capel-Cure,  Bust  of  Boy. 


74 

Works  of 

Bergamo. 

Carrara,  165.  The  Saviour,  1517. 

Lochis,  188.  Portrait  of  Man. 

Morelli,  Portrait  of  Man,  1521. 

Frizzoni-Salis,  Madonna  with  SS.  Monica  and 
Francis. 

Berlin. 

6.  Pieta.  E.  20.  Altar-piece.  37.  St.  Sebas- 
tian. 40.  Madonna.  E. 

Herr  von  Beckerath,  St.  Jerome. 

Herr  Kaufmann,  St.  Jerome. 

Boston,  U.  S.  A.  35.  Entombment.  E. 

Buda-Pesth.  103.  St.  Catherine  Reading.  St.  Jerome. 


London. 

281.  St.  Jerome.  599.  Madonna. 

Mr.  Benson,  St.  Jerome  beside  a Pool,  1505. 
Portrait  of  Man.  Madonna  and  Saints.  In- 
fant Bacchus. 

Mr.  C.  Butler,  Dead  Christ. 

Mr.  Salting,  Madonna.  E. 

Sir  Michael  Shaw-Stewart,  Madonna. 
Meiningen.  Ducal  Palace,  St.  Anthony  Abbot.  St.  Paul.  L. 
Milan.  Ambrosiana,  30.  Resurrected  Christ. 


Munich. 

Murano. 

Padua. 

1031.  Madonna,  Saints,  and  Donor.  E. 

S.  Pietro,  Assumption  of  Virgin. 

Sala  Emo,  225.  Portrait  of  Man,  1521.  Ma- 
donna with  SS.  Liberale  and  Peter. 

Paris. 

M.  Martin  Le  Roy,  St.  Sebastian. 

Rome.  Doria,  459.  St.  Sebastian. 
Strassburg.  St.  Jerome. 

Stuttgart.  24.  Madonna. 


Venice. 

57.  Madonna  with  Female  Saint. 

Academy,  68.  St.  James  and  St.  Anthony  Ab- 
bot. 108.  Dead  Christ.  St.  George  and 
Dragon,  1520.  69.  Christ  in  the  Garden, 

1510.  107.  St.  Jerome.  39.  Calling  of  Chil- 

dren of  Zebedee,  1510. 

The  Venetian  Painters 


75 


Venice.  {Con.)  Museo  Correr,  Sala  IX,  24.  Madonna  and 
Donor.  34.  Christ  and  Angels. 

Giovanelli,  St.  Jerome  in  Desert. 

S.  Pietro  in  Castello,  St.  Peter  enthroned  and 
four  other  Saints. 

Salute,  St.  Sebastian. 

Vienna.  1.  Calling  of  Children  of  Zebedee,  1515. 

Harrach  Collection,  Madonna. 


JACOPO  BASSANO. 

1 5 10-1 592.  Pupil  of  Bonifazio  Veronese. 


Ashridge.  Lord  Brownlow,  Portrait  of  an  Admiral.  Por- 
trait of  Youth. 


Augsburg. 

Bassano. 


272.  Madonna  with  SS.  John  and  Roch. 

32.  Susanna  and  Elders.  E. 

35.  Christ  and  Adulteress.  E. 

38.  The  Three  Holy  Children.  E. 

41.  Madonna,  SS.  Lucy  and  Francis,  and  Donor. 
E. 

22.  Flight  into  Egypt. 

20.  St.  John  the  Baptist. 

19.  Paradise. 

17.  Baptism  of  St.  Lucilla. 

16.  Adoration  of  Shepherds. 

14.  St.  Martin  and  the  Beggar. 

12.  St.  Roch  recommending  Donor  to  Virgin. 

13.  St.  John  the  Evangelist  adored  by  a Warrior. 
10.  Descent  of  Holy  Spirit. 

4.  Madonna  in  Glory,  SS.  Lucy  and  Agatha.  L. 
45.  Last  Supper. 

Duomo,  St.  Lucy  in  Glory,  and  Martyrdom  of 
Stephen.  L.  Nativity. 

S.  Giovanni,  Madonna  in  Glory,  SS.  Giustina, 
Barbara,  and  Mark. 

S.  M.  delle  Grazie,  Crucifixion  (fresco). 


76 


Works  of 


Bergamo. 


Berlin. 
Biel,  N.  B. 
Bologna. 


Carrara,  109.  Male  Portrait. 

Lochis,  54.  Portrait  of  Lawyer.  82.  Portrait 
of  a Painter. 

Frizzoni-Salis,  Madonna.  Portrait  of  Old  Man. 
Signor  Baglioni,  Portrait  of  Old  Man. 

Casa  Suardi,  St.  Jerome  in  Desert. 

Herr  Kaufmann,  Bust  of  Senator. 

Herr  Wesendonck,  Animals  going  into  Ark. 
Mrs.  Hamilton  Ogilvie,  Dives  and  Lazarus. 
Nativity.  L. 

Corridor  IV,  Two  Male  Busts. 


Brussels.  401.  Old  Man  seated. 

Buda-Pesth.  108.  Head  of  St.  Jerome. 

Chatsworth.  Duke  of  Devonshire,  Portrait  of  Niccolo  Cap- 
pello. 

Cittadella.  Duomo,  Christ  at  Emaus.  E. 


Dijon.  40.  Agony  in  Garden. 

41.  St.  Sebastian. 

Dresden.  253.  Israelites  in  Desert.  256.  Moses  striking 
Rock. 

258.  Conversion  of  Paul. 

Edinburgh.  327.  Portrait  of  Man. 

367.  Adoration  of  Magi.  E. 

Feltre.  Vescovado,  Portrait  of  Old  Man. 

Florence.  Uffizi,  610.  Two  Hunting  Dogs. 

Gosford  House,  N.  B.  Lord  Wemys,  Bust  of  Old  Man. 

Senator  seated.  St.  John  in  Landscape. 
Hampton  Court.  94.  Head  of  Old  Man. 

136.  Male  Portrait. 

142.  Jacob’s  Journey. 

153.  Boaz  and  Ruth. 

163.  Shepherd’s  Offering.  E. 

169.  Christ  in  the  House  of  the  Pharisee. 

176.  Assumption  of  Virgin. 


The  Venetian  Painters 


77 


Hampton  Court.  {Con.)  210.  Men  fighting  Bears. 

223.  Tribute  Money. 

Hopetoun  House,  N.  B.  Lord  Hopetoun,  Portrait  of  a Doge 
Seated. 

Linlathen,  N.  B.  Col.  Erskine,  Agony  in  Garden. 

London.  173.  Portrait  of  Man.  228.  Christ  and  the 


Milan. 

Money  Changers.  277.  The  Good  Samaritan. 
Mr.  Benson,  St.  John  in  the  Wilderness.  Christ 
in  House  of  Levi.  Portrait  of  Woman. 

Mr.  G.  Donaldson,  Portrait  of  Managed  27,  1558. 
Ambrosiana,  226.  Annunciation  to  Shepherds. 
L.  230.  Adoration  of  Shepherds.  E. 

Modena.  422.  St.  Paul  and  another  Saint. 
Montpellier.  564.  Old  Man  in  Armour. 


Munich. 

1128.  Old  Man,  Son,  and  Grandson.  1148.  St. 
Jerome  in  Desert.  1150.  Deposition  from 
Cross.  1 1 51.  Madonna  enthroned  and  two 
Saints. 

Lotzbeck  Collection,  ioi.  Portrait  of  Lady. 

Padua. 

Paris. 

S.  Maria  in  Vanzo,  Entombment. 

1428.  Vintage.  L.  1429.  Portrait  of  Giovanni 
da  Bologna.  1467.  Portrait  of  Old  Man. 

Rome. 

Villa  Borghese,  144.  Last  Supper.  127.  The 
Trinity. 

Corsini,  533.  Portrait  of  Lady. 

Countess  Santa  Fiora,  Nativity. 

Rossie  Priory,  N.  B.  Lord  Kinnaird,  Annunciation. 
Tours.  4.  Bust  of  Old  Man. 


Venice. 

Academy,  395.  Christ  in  Garden.  403.  Por- 
trait of  a Venetian  Noble.  401.  St.  Eleuterius 
blessing  the  Faithful. 

Palazzo  Ducale,  Anti-Collegio.  Jacob’s  Jour- 
ney. 

Palazzo  Reale,  St.  Jerome,  1569. 

78 


Works  of 


Venice.  {Con.)  S.  Giacomo  Dall’  Orio,  Madonna  in  Glory  and 
two  Saints. 

Verona.  214.  Portrait  of  a Senator. 

Vicenza.  Sala  V.  Madonna  and  Saints.  E. 

Entrance  Hall,  2.  Madonna,  St.  Mark,  and 
two  Senators. 

Palazzo  Loschi,  Night  Scene. 


Vienna.  283. 

The  Good  Samaritan. 

269. 

Thamar  led  to  the  Stake. 

276. 

Adoration  of  Magi. 

301. 

Rich  Man  and  Lazarus. 

266. 

The  Lord  shows  Abraham  the  Promised 

Land. 

306. 

The  Sower. 

281. 

A Hunt. 

319. 

Way  to  Golgotha. 

268. 

Noah  entering  the  Ark. 

267. 

Christ  and  the  Money  Changers. 

265. 

After  the  Flood. 

263. 

SS.  Sebastian,  Florian,  and  Roch. 

272. 

Adoration  of  Magi. 

3 11. 

Portrait  of  Procurator. 

312. 

Portrait  of  Senator. 

453* 

Christ  bearing  Cross. 

230. 

Two  Men. 

240. 

Portrait  of  Young  Man. 

480. 

Portrait  of  Young  Man. 

Academy,  21.  Portrait  of  Procurator. 

Woburn  Abbey. 

16.  Portrait  of  Venetian  Senator. 

FRANCESCO  BECCARUZZI. 

Active  in  the  second  and  third  quarter  of  the  XVI  century.  Pupil  of  Pordenone  ; 

imitator  of  all  his  great  Venetian  contemporaries  ; finally, 

imitator  of  Paul  Veronese. 

Belluno.  14. 

Woman  in  White  Dress. 

Apollo  and  Marsyas.  By  Cima . 

Picture  in  the  Gailerv,  Parma . 


The  Venetian  Painters 


79 


Bergamo.  Lochis,  193.  Portrait  of  Young  Woman. 

Berlin.  Herr  Kaufmann,  Portrait  of  Gentleman. 

Herr  Wesendonck,  10.  Santa  Conversazione. 
Boston,  U.  S.  A.  52.  Copy  of  a (lost)  Paris  Bordone  : Holy 
Family  and  Saints. 

Buda-Pesth.  84.  Bust  of  woman. 

89.  Madonna. 

109.  Young  Woman  seated. 

Cambridge.  Fitzwilliam  Museum,  138.  Adoration  of  Shep- 
herds. 

Conegliano.  Duomo,  R.  Wall,  Three  Saints.  E. 

S.  M.  delle  Grazie,  High  Altar,  Madonna  and 


Dresden. 
F errara. 
Florence. 

Saints. 

S.  Rocco,  Organ  Picture,  Madonna  and 
Saints.  L. 

199.  Calling  of  Matthew. 

Sala  II.  Christ  and  the  Adulteress. 

Uffizi,  585.  Portrait  of  Man. 

Glasgow.  29.  Madonna  enthroned  with  Saints  and  Angels. 
Haigh  Hall  (near  Wigan).  Lord  Crawford,  Bust  of 
Woman. 

Hopetoun  House,  N.  B.  Lord  Hopetoun,  Gentleman  with 
Horse  and  Groom. 

Lille.  653.  Stoning  of  Stephen  (?). 

1056.  Legend  of  Moses. 

Linlathen,  N.  B.  Col.  Erskine,  Bust  of  Man,  Santa  Con- 


London. 

versazione. 

Burlington  House,  Diploma  Gallery,  Temper- 
ance. 

Apsley  House,  Portrait  of  Lady. 

Mr.  C.  Butler,  Portrait  of  Man.  St.  George 
and  the  Dragon. 

Sir  William  Farrer,  Santa  Conversazione. 
Dorchester  House,  Portrait  of  Doge  Andrea  Gritti. 

8o 


Works  of 


London.  (Con.)  Viscount  Powerscourt,  Portrait  of  “Politian.” 
Lord  Northbrook,  Santa  Conversazione. 

Mr.  G.  Salting,  Portrait  of  Man. 

Keir,  N.  B.  Mr.  Archibald  Stirling,  Young  Woman  playing 
Organ. 

Milan.  Museo  Civico,  104.  Portrait  of  Man  with  Spaniel. 
Narbonne.  253.  Marriage  of  St.  Catherine. 

Oldenburg.  81.  Dead  Christ. 

Padua.  9.  Santa  Conversazione. 

1362.  Bust  of  Monk  in  White. 


Parma. 

Rome. 

254.  Portrait  of  Man. 

Colonna,  16.  A Cavalier. 

Doria,  62.  Portrait  of  Woman.  386.  Man  with 

Flower. 

Serravalle.  S.  Antonio,  Baptism. 

Strassburg.  Scene  taken  from  Lotto’s  Crucifixion  at  Monte 
San  Giusto. 


Stuttgart. 

Toulouse. 

Treviso. 

190.  Bust  of  Man. 

Holy  Family  and  Infant  John  presenting  Dove. 
Monte  di  Pieta,  Dead  Christ.  Prophets. 

Eredi  Perazzolo,  Way  to  Golgotha. 

S.  Lucia,  Sacristy,  St.  Lucy. 

Venice. 

Academy,  517.  St.  Francis  receiving  Stigmata. 
525.  Deposition. 

Correr,  Portrait  of  “Cesare  Borgia/' 

Manfrin  Gallery,  Santa  Conversazione  and 
Donor. 

Quirini-Stampalia,  68.  Santa  Conversazione. 
Palazzo  Reale,  Madonna  and  St.  Catherine. 
Giovanelli,  315.  St.  Roch. 

S.  M.  dell'  Orto,  SS.  Lawrence,  Helen,  Gregory, 
Dominic,  and  Lorenzo  Giustiniani. 

Vienna. 

1 57.  Portrait  of  Lady. 
206.  A Warrior. 

The  Venetian  Painters  81 

Vienna.  {Con.)  209.  The  Baptist. 

2 11.  Thaddeus. 

Academy,  5.  St.  Lawrence.  6.  Nativity.  20. 
Deposition.  41.  St.  Paul. 

GENTILE  BELLINI. 

1429-1507.  Pupil  of  his  father,  Jacopo  Bellini ; influenced  by  the  Paduans. 

Buda-Pesth.  101.  Portrait  of  Catherine  Cornaro. 
Frankfort  a/M.  18.  Bust  of  St.  Mark.  E. 

London.  808.  St.  Peter  Martyr. 


Milan. 

1213.  Portrait  of  Mathematician. 

1440.  Head  of  a Monk. 

Mr.  Ludwig  Mond,  Madonna  Enthroned.  E. 
Brer  a,  168.  Preaching  of  St.  Mark.  L.  (Fin- 
ished by  Giovanni  Bellini.) 

Monopoli. 

Venice. 

Duomo,  St.  Jerome  and  Donor  (?).  E. 

Academy,  570.  Beato  Lorenzo  Giustiniani, 
1465.  568.  Miracle  of  True  Cross,  1500.  567. 

Corpus  Christi  Procession,  1496.  563.  Heal- 

ing accomplished  by  Fragment  of  True  Cross. 
L. 

Museo  Correr,  Portrait  of  Doge  Giovanni 
Mocenigo. 

San  Marco  Fabbriceria,  Organ  Shutters, 
SS.  Theodore  and  Mark,  SS.  Jerome  and 
Francis.  E. 

Lady  Layard,  Adoration  of  Magi.  Portrait  of 
Sultan  Mohamet,  1480. 

GIOVANNI  BELLINI. 

1430  (?)— 1 516.  Pupil  of  his  father,  Jacopo  ; formed  in  Padua  under  the 
influence  of  Donatello. 

Bergamo.  Lochis,  210.  Madonna.  E. 

Morelli,  27.  Madonna.  41.  Madonna. 


82 


Works  of 


Berlin. 

Florence. 

London. 


Milan. 

Murano. 

Naples. 

Newport, 

Pesaro. 

Rimini. 

Turin. 

Venice. 


4.  Pieta.  L.  28.  Dead  Christ. 

Uffizi,  631.  Allegory  of  Tree  of  Life.  L. 

189.  Portrait  of  Loredano.  L.  280.  Madonna 
L.  726.  Agony  in  the  Garden.  E.  1233. 
Blood  of  Redeemer.  E. 

Mr.  Ludwig  Mond,  Dead  Christ.  Madonna. 

Brera,  284.  Pieta.  E.  261.  Madonna.  297. 
Madonna,  1510. 

Dr.  Gust,  Frizzoni,  Madonna.  E. 

5.  Pietro,  Madonna  with  SS.  Mark  and  Augus- 
tin and  Doge  Barbarigo,  1488. 

Sala  Grande,  7.  Transfiguration. 

U.  S.  A.  Mr.  T.  H.  Davis,  Madonna.  E. 

11.  Crucifixion  (?).  E.  52.  God  the  Father. 
S.  Francesco,  Altar-piece  in  many  parts. 

Dead  Christ.  E. 

779.  Madonna.  E. 

Academy,  596.  Madonna.  594.  Madonna.  595. 
Five  small  Allegories.  L.  613.  Madonna 
with  St.  Catherine  and  Magdalen.  610.  Ma- 
donna with  SS.  Paul  and  George.  612.  Ma- 
donna. 38.  Madonna  with  six  Saints. 

Museo  Correr,  Sala  VII,  23.  Transfiguration  E. 
Sala  IX,  27.  Dead  Christ  E.  46.  Crucifixion,  E. 

54.  Dead  Christ  supported  by  three 
Angels.  E. 

Palazzo  Ducale,  Sala  di  Tre,  Pieta.  E. 

Frari,  Triptych,  Madonna  and  Saints,  1488. 

S.  Francesco  della  Vigna,  Madonna  and  four 
Saints,  1507. 

S.  Giovanni  Crisostomo,  SS.  Jerome,  Augus- 
tin, and  Christopher,  1513. 

S.  Maria  dell’  Orto,  Madonna.  E. 

S.  Zaccaria,  Madonna  and  four  Saints,  1505. 


The  Venetian  Painters 


83 


Verona.  77.  Madonna.  E. 

Vicenza.  S.  Corona,  Baptism,  1510. 

JACOPO  BELLINI. 

Active  1430-1470.  Pupil  of  the  Umbrian  Painter,  Gentile  da  Fabriano, 
and  of  the  Veronese,  Pisanello. 


Brescia. 

Ferrara. 

London. 

Lovere. 

Padua. 

Paris. 

Venice. 

S.  Alessandro,  Annunciation,  with  five  Predelle. 
Sig.  Vendeghini,  Adoration  of  Magi. 

British  Museum,  Sketch-book.  E. 

Tadini,  Madonna. 

Sala  IV,  Christ  in  Limbo. 

Sketch-Book.  L. 

Academy,  582.  Madonna. 

Museo  Correr,  Sala  IX,  42.  Crucifixion. 

S.  Trovaso,  S.  Giovanni  Crisogono  on  Horse- 
back. (?) 

Verona. 

365.  Christ  on  Cross. 

BISSOLO. 

1464-1528.  Pupil  and  assistant  of  Giovanni  Bellini. 


Berlin. 

Brescia. 

43.  Altar-piece.  L. 

Tosio,  Sala  XIV,  3.  Madonna  and  Saints.  E. 

Chantilly.  Madonna. 

Diisseldorf.  75.  Madonna  with  Infant  John  and  his  Parents. 
Genoa.  Annunziata,  Madonna  and  four  Saints. 
Hampton  Court.  117.  Portrait  of  Man.  E. 


London. 

Mr.  Benson,  Annunciation.  Madonna. 

Mr.  Mond,  Madonna  with  SS.  Paul  and  Cath- 
erine. 

Milan. 

Brera,  237.  St.  Stephen.  285.  St.  Antony  of 
Padua.  298.  A Bishop. 

84 

Works  of 

Rome. 

T reviso. 

Villa  Borghese,  176.  Madonna.  E. 
Duomo,  Three  Saints  and  Donor. 

S.  Andrea,  Madonna  and  two  Saints. 

Venice. 

Academy,  88.  Dead  Christ.  93.  Presentation 
in  the  Temple.  79.  Christ  Crowning  St. 
Catherine.  94.  Madonna  with  SS.  James 
and  Job. 

Museo  Correr,  Sala  IX,  57.  Madonna  with  St. 
Peter  Martyr. 

S.  Giovanni  in  Bragora,  Triptych. 

S.  Maria  Mater  Domini,  Transfiguration. 
Redentore,  Madonna  with  SS.  John  and  Cath- 
erine. 

Lady  Layard,  Madonna  with  SS.  Michael  and 
Ursula  and  Donors. 

Verona. 

Vienna. 

Circumcision.  E. 

13.  Lady  at  Toilet,  1515. 

4.  Baptism. 

BONIFAZIO  VERONESE. 

Active  circa  1510-1540.  Pupil  of  Palma  Vecchio  ; influenced  by  Giorgione. 

Bergamo.  Carrara,  197,  198.  Small  mythological  Scenes. 

Frizzoni-Salis,  Parable  of  Sower. 

Boston,  U.  S.  A.  Mrs.  J.  L.  Gardner,  Santa  Conver- 
sazione. E. 

Bowood.  Marquess  of  Lansdowne,  Santa  Conversazione. 
Campo  S.  Piero.  Oratory  of  S.  Antonio,  Preaching  of 
St.  Antony  (in  part). 


Dresden. 

Florence. 

208.  Finding  of  Moses. 

Pitti,  84.  Madonna,  St.  Elizabeth,  and  Donor.  E. 
89.  Rest  in  Flight. 

1 6 1 . Finding  of  Moses. 

405.  Christ  among  the  Doctors  (in  part). 

A Young  Woman  at  Her  Toilet.  By  Bissolo. 

Picture  in  the  Imperial  Gallery , Vienna. 


The  Venetian  Painters 


85 


Hague.  252.  Bust  of  Woman. 

Hampton  Court.  146.  Santa  Conversazione. 
Lille.  717.  Esther  before  Ahasuerus. 


London. 

1202.  Santa  Conversazione.  E. 

Mr.  Benson,  Allegories  of  Morning,  and  of  Night 
(in  part). 

Mr.  Butler,  Santa  Conversazione.  Rape  of 
Helen.  Subject  from  a Romance. 

Mr.  Charles  T.  D.  Crews,  Birth  of  John. 

Dr.  Richter,  Joseph  drawn  out  of  the  Well. 
Head  of  Pompey  brought  to  Caesar. 

Milan. 

Brera,  209.  Finding  of  Moses. 

Ambrosiana,  231.  Holy  Family  with  Tobias  and 
Angel.  E. 

Poldi-Pezzoli,  Pinacoteca,  99.  Doctor  Visiting 
a Patient. 

Paris. 

Rome. 

1 1 7 1 . Santa  Conversazione. 

Villa  Borghese,  156.  Mother  of  Zebedee’s  Chil- 
dren. 186.  Return  of  the  Prodigal  Son. 
Colonna,  1.  Holy  Family  with  SS.  Jerome  and 
Lucy. 

Doria,  16.  Santa  Conversazione. 

Prince  Chigi,  Finding  of  Moses. 

Venice. 

Academy,  291.  Rich  Man’s  Feast.  319.  Mas- 
sacre of  Innocents.  295.  Judgment  of  Solo- 
mon, 1533  (in  part). 

Palazzo  Reale,  Madonna  with  SS.  Catherine 
and  John  the  Almsgiver,  1533. 

Giovanelli,  Santa  Conversazione. 

Lady  Layard,  Twelve  very  small  pictures  : 
Rustic  Occupations. 

Vienna. 

193.  Santa  Conversazione. 

201.  Triumph  of  Love.  156.  Triumph  of 
Chastity. 

145.  Salome. 

86 


Works  of 


FRANCESCO  BONSIGNORI. 

1453  (?)-i5i9.  Pupil  of  Bartolommeo  and  Alvise  Vivarini  ; influenced  by 
Giovanni  Bellini,  and  later  by  Mantegna  and  his  own 


townsman,  Liberale  of  Verona. 

Bergamo. 

Lochis,  i 54.  Portrait  of  a Gonzaga. 
Morelli,  45.  The  Widow’s  Son.  L. 

Berlin. 

46°.  St.  Sebastian. 

Florence.  Bargello,  Christ  bearing  Cross.  L. 

Fonthill  (Wilts).  Mr.  Alfred  Morrison,  Portrait  of  Man. 
Gosford  House,  N.B.  Lord  Wemys,  Madonna  enthroned. 


London. 

Mantua. 

736.  Portrait  of  Man,  1487. 

Accademia  Virgiliana,  Way  to  Golgotha. 
Vision  of  the  Nun  Osanna. 

Milan. 

Brera,  163.  St.  Bernardino.  170.  SS.  Ber- 
nardino and  Louis  holding  the  Initials  of 
Christ. 

Poldi-Pezzoli,  Head  of  a female  Saint.  St. 
Bernardino.  Profile  of  Old  Man.  Bust  of 
Venetian  Noble. 

Paris. 

Venice. 

Prince  Sciarra,  Bust  of  a Gonzaga. 

Palazzo  Ducale,  Directors’  Room.  Madonna. 
E. 

S.  Giovanni  e Paolo,  2d  Altar  R.  Altar-piece  in 
9 parts.  E. 

Verona. 

148.  Madonna,  1483.  271.  Madonna  enthroned 
with  four  Saints,  1484. 

S.  Bernardino,  Madonna  enthroned  with  SS. 
Jerome  and  George,  1488. 

S.  Nazzaro  e Celso,  Madonna  and  Saints,  fin- 
ished by  Girolamo  dai  Libri. 

S.  Paolo,  Madonna  with  St.  Antony  Abbot  and 
the  Magdalen.  E. 

The  Venetian  Painters 


87 


PARIS  BORDONE. 

1495-1570.  Pupil  and  follower  of  Titian;  influenced  later  by  Michelangelo. 

Ashridge.  Lord  Brownlow,  Apollo  and  the  Muses. 

Bari.  Cathedral,  L.  Transept.  Madonna  Saints. 

Bergamo,  Lochis,  41,  42.  Vintage  Scenes. 

56.  Madonna  appearing  to  St.  Dominic. 


Berlin. 

169.  Chess  Players. 

19 1.  Madonna  and  four  Saints. 

Chatsworth.  Duke  of  Devonshire,  Family  Group. 
Cologne.  81  iA  A- Bathsheba. 

Dresden.  203.  Apollo  and  Marsyas. 

204.  Diana  as  Huntress. 

205.  Holy  Family  and  St.  Jerome. 
Edinburgh.  506.  Lady  at  her  Toilet. 


Florence. 

Pitti,  109.  Portrait  of  Woman. 
Uffizi,  607.  Portrait  of  Young  Man. 

Genoa. 

Brignole-Sale,  Sala  V.  Portrait  of  Man. 

Sala  VIII,  Santa  Conversazione.  Portrait  of  Man. 

Glasgow.  45.  Holy  Family. 

46.  Holy  Family.  E. 

Gosford  House,  N.  B.  Lord  Wemys,  A Courtesan. 
Hampton  Court.  118.  Madonna  with  male  and  female 
Donors. 

Keir,  N.  B.  Mr.  Archibald  Stirling,  Madonna  and  Infant 


London. 

John. 

637.  Daphnis  and  Chloe. 

674.  Portrait  of  Lady. 

Bridgewater  House,  Holy  Family. 

Lord  Brownlow,  Cavalier  in  Armour. 

The  Misses  Cohen,  Portrait  of  a Lady  seated. 
Mr.  G.  Donaldson,  A Courtesan. 

Dr.  Richter,  Christ  among  the  Doctors. 

Lord  Rosebery,  Portrait  of  a Lady. 

88 

Works  of 

Lovere. 

Tadini,  307.  Madonna  with 

SS.  George  and 

Christopher. 

Milan. 

Brera,  212.  Baptism.  216. 

Descent  of  Holy 

Spirit. 

241.  S.  Dominic  presented  to  Saviour  by  Virgin. 

242.  Madonna  and  Saints. 

306  bis.  Three  Heads. 

St.  Ambrose  presenting  a General  to  Virgin. 
Signor  Crespi,  Jove  and  a Nymph. 

S.  Maria  presso  Celso,  Madonna  and  St.  Jerome. 

Munich.  1121.  Man  counting  Jewels. 

New  York,  U.  S.  A.  Historical  Society,  205.  Rest  in 
Flight. 

Padua.  Sala  Emo,  93.  Christ  taking  leave  of  his  Mother. 
Paris.  1178.  Portrait  of  Man.  1179.  Portrait  of  Man, 
1540. 

Richmond.  Sir  F.  Cook,  Hunting  Piece. 

Rome.  Villa  Borghese,  119.  Jupiter  and  Antiope. 

Colonna,  92.  Holy  Family  with  St.  Jerome. 

1 16.  Holy  Family,  SS.  Sebastian,  and  Jerome. 
Doria,  294.  Venus  and  Mars. 

Vatican,  Ante-chamber  of  Pope’s  Apartments, 
St.  George  and  the  Dragon. 

Siena.  Sala  IX,  9.  Annunciation.  51.  Madonna  and 
Donor. 

Strassburg.  Madonna  and  St.  Jerome. 

Treviso.  4.  Madonna  with  SS.  Jerome  and  John  the 
Baptist. 

Duomo,  Adoration  of  Shepherds.  Madonna  with 
SS.  Sebastian  and  Jerome.  Gospel  Scenes  (on 
a small  picture). 

Venice.  Academy,  320.  Fisherman  and  Doge.  E.  322. 
Paradise. 

Palazzo  Ducale,  Chapel,  Dead  Christ. 


The  Venetian  Painters 


89 


Venice.  (Con.)  Giovanelli,  Madonna  and  Saints. 

Lady  Layard,  Christ  baptising  a Youth  in  Prison. 


Vienna. 

S.  Giovanni  in  Bragora,  Last  Supper. 

S.  Giobbe,  S.  Andrew  and  two  other  Saints. 
233.  Allegory. 

246.  Allegory. 

248.  Lady  at  Tiolet. 

231.  Young  Woman. 

Czernin,  Venetian  adoring  Cross. 
ANTONIO  CANALE  called  CANALETTO. 

1 697- 1 768. 

Biel,  N.  B.  Mrs.  Hamilton  Ogilvie,  View  of  Scalzi. 
Buda-Pesth.  659.  The  Pantheon. 


Dresden. 

581.  The  Grand  Canal. 

582.  S.  Giovanni  e Paolo. 

583.  Campo  S.  Giacomo  di  Rialto. 

584.  Piazza  di  S.  Marco. 

Florence. 

Uffizi,  1064.  The  Piazzetta. 

Frankfort  a/M.  51.  Entrance  to  Grand  Canal. 

53.  Venetian  Palace  and  Bridge. 

Hampton  Court.  The  Colosseum,  1753. 

Hopetoun  House,  N.  B.  Lord  Hopetoun,  Venice  from 
Lagoon. 


London. 

127.  Scuola  della  Carita.  937.  Scuola  di  San 
Rocco 

The  Misses  Cohen,  Three  Studies. 

Dorchester  House,  View  of  Piazzetta  from 
Lagoon. 

Hertford  House,  Thirteen  views  of  Venice. 

Mr.  Mond,  Two  views  of  the  Piazza. 

Dr.  Richter,  The  Dogana. 

Duke  of  Westminster,  Grand  Canal. 

Milan. 

Casa  Sormani,  The  Bucentaur.  Reception  01  an 
Ambassador. 

90 


Works  of 


New  Battle,  N.  B.  Marquis  of  Lothian,  St.  Paul’s  from 
the  Thames.  S.  Giorgio  Maggiore. 

Paris.  1203.  The  Salute. 

Mme.  Andre,  Two  views  of  Venice. 

M.  Maurice  Kann,  Salute.  Pescheria. 

Vienna.  Lichtenstein,  191,  192,  193,  196,  198,  199, 
203,  204,  205,  206,  210,  216,  217.  Views  of 
Venice. 

Windsor  Castle.  Series  of  large  views  of  the  Piazza. 

Woburn  Abbey.  Twenty-four  views  of  Venice. 

DOMENICO  CAPRIOLI. 

Active  1518-circa  1560.  Influenced  by  Titian,  Paris  Bordone,  Pordenone,  Boni- 
fazio,  Savoldo,  and  Moretto. 

Berlin.  156.  Portrait  of  Man  in  Black. 

158.  Tennis  Player  and  Page.  L. 

195.  St.  Sebastian. 

Brighton.  Mr.  H.  Willett,  Madonna  of  Mercy. 

Cambridge,  U.  S.  A.  Prof.  C.  E.  Norton,  Portrait  of 
Domenico  Grimani. 

Castle  Barnard.  Bowes  Museum,  339.  Portrait  of  Man, 
1528. 

Dijon.  6.  Assumption. 

London.  Lord  Ashburnham,  Portrait  of  Titian.  L. 

Mr.  R.  Benson,  Madonna  in  Profile  (?).  E. 

Duke  of  Grafton,  Portrait  of  Man.  1541. 

Duke  of  Northumberland,  Portraits  of  a Gentle- 
man and  his  Secretary. 

Motta  Di  Livenza.  S.  M.  dei  Miracoli,  Adoration  of  Shep- 
herds. 

Naples.  Museo  Filangieri,  1438.  Entombment.  L. 

New  Battle,  N.  B.  Marquis  of  Lothian,  Return  of 
Prodigal. 


The  Venetian  Painters 


91 


Paris. 

Mme.  C.  de  Rosenberg,  Portrait  of  Doge  Gri- 
mani. 

Rome. 

Borghese,  130,  132.  Caricatured  Heads. 
Colonna,  12.  Portrait  of  Sciarra  Colonna. 

Treviso. 

50.  Nativity.  1518. 

Vienna. 

212.  Young  Hero. 

Academy,  508.  Picnic.  510.  Country  Dance. 

Windsor. 

Portrait  of  Domenico  Grimani. 

GIOVANNI  BUSI,  called  CARIANL 

Circa  1480-1544.  Pupil  of  Giovanni  Bellini  and  Palma  ; influenced  by  Giorgione 

and  Capaccio. 


Ashridge. 

Basel. 

Bergamo. 


Berlin. 


Lord  Brownlow,  Bust  of  Bart.  Colleoni. 

166.  Bust  of  Young  Man. 

Carrara,  67.  Madonna  with  SS.  Helen,  Constan- 
tine, and  other  Saints.  L.  85.  Portrait  of 
Lady.  135.  Bust  of  Man. 

Lochis,  2.  Portrait  of  Lady.  85.  Christ  on  Cross, 
bust  of  Donor,  1518.  146.  Woman  playing, 

and  Shepherd  asleep.  150.  St.  Antony  of 
Padua,  E.  153.  Portrait  of  Monk.  165. 
Portrait  of  Man.  172.  Christ  bearing  Cross. 
E.  182.  St.  Jerome.  184.  Portrait  of  Bened. 
Caravaggio.  192.  St.  Stephen.  182.  Small 
St.  Jerome.  196.  St.  Catherine. 

Morelli,  Madonna.  L.  Portrait  of  Man. 

Duomo,  Back  of  High  Altar,  Madonna.  E. 
Baglioni,  Madonna  and  Donor,  1520. 

Signor  Frizzoni-Salis,  Madonna  and  Saints.  L. 
Piccinelli,  Flight  into  Egypt.  L. 

Roncalli,  Family  Group,  1519. 

Count  Suardi,  St.  Jerome.  Portrait  of  Senator. 
185.  Girl  in  Landscape.  188.  Portrait  of  Man. 


92 


Works  of 


Bowood.  Marquess  of  Lansdowne,  Profile  Bust  of  Fran- 
ciscan Monk. 

Buda-Pesth.  79.  Madonna  and  St.  Francis. 

Canford,  Wimborne  (Dorset).  Lord  Wimborne,  Circum- 
cision (begun  by  Palma).  Madonna  with  St. 
Jerome. 

Chatsworth.  Duke  of  Devonshire,  Portrait  of  Young  Man. 

Glasgow.  142.  Christ  and  the  Adulteress. 

Hampton  Court.  135.  Adoration  of  Shepherds.  L.  Venus. 
L. 

Horsmonden.  Mrs.  Austen,  Soldier  and  Gipsy.  Cassone 
with  Story  of  Apollo  and  Marsyas. 

Kingston  Lacy.  Mr.  Ralph  Banks.  The  Judgment  of 
Solomon. 

London.  41.  Death  of  St.  Peter  Martyr.  L.  1203.  Ma- 
donna and  Saints.  L. 

South  Kensington,  Venus  and  Mars  (lent). 

Mr.  Benson,  Madonna  and  Donors.  Portrait  of 
Man  wearing  Sword. 

Mr.  Doetsch,  Nativity. 

Dorchester  House,  Portrait  of  Man. 

Marquis  of  Lansdowne,  A Concert. 

Mr.  Salting,  Portrait  of  Senator. 

Lovere.  Tadini  Gallery,  378.  Portrait  of  a Man  seizing 
a sword  while  pointing  to  an  apparition  of  the 
Madonna. 

Marseilles.  St.  Sebastian  with  St.  Roch  and  a female  Saint. 

Mells  Park,  Frome.  Mrs.  J.  Horner,  Bust  of  Lady  (almost 
in  profile). 

Milan.  Brera,  210.  Madonna  and  Saints.  L.  291. 
Madonna.  L. 

Museo  Civico,  106.  Lot  and  his  Daughters. 
Collection  dell’Acqua.  Portrait  of  a Lady. 

Ambrosiana,  Way  to  Golgotha. 


Gipsy  and  Soldier.  By  Giorgione. 

Picture  in  the  Giovanelli  Palace , Venice. 


. 


The  Venetian  Painters 


93 


Milan.  {Con.)  Borromeo,  Nativity.  St.  Jerome. 

Poldi-Pezzoli,  133.  Madonna  and  Saints. 


Munich. 

Bonomi-Cereda,  Portrait  of  Man.  Magdalen. 
1107.  Portrait  of  Man. 

Lotzbeck  Collection,  ioo.  Portrait  of  Man. 

New  York,  U.  S.  A.  Historical  Society,  206.  Portrait  of 
Man. 

Oldenburg.  78.  Holy  Family  and  Saints. 


Paris. 

82.  Two  Women  and  a Man. 

1 135.  Madonna,  Saints,  and  Donor.  E. 

1156.  Two  Men. 

1159.  Holy  Family  with  SS.  Sebastian  and 
Catherine. 

M.  Aynard,  Portrait  of  Man. 

Rome. 

Villa  Borghese,  30.  Sleeping  Venus.  164. 
Madonna  and  St.  Peter.  31 1.  Woman  with 
three  Men. 

Corsini.  Santa  Conversazione. 

Vatican.  Bust  of  Doge. 

St.  Petersburg.  116.  Young  Woman  and  old  Man. 
Strassburg.  69.  Young  Man  playing  Guitar.  Portrait  of 


Stuttgart. 

Venice. 

old  Venetian. 

36.  Portrait  of  a Lady. 

Academy,  300.  Portrait  of  Man,  1526.  326. 

Holy  Family.  299.  Portrait  of  Man.  272. 
Bust  of  Old  Woman. 

Vicenza. 

Sala.  II,  41.  Madonna  and  Saints. 

Vienna. 

63.  St.  Sebastian.  60.  Christ  bearing  Cross. 
207.  The  “ Bravo.” 

205.  St.  John  Evangelist. 

Academy,  77.  Madonna  with  SS.  John  and 
Catherine. 

Zogno. 

Church,  Adoration  of  Shepherds. 

94 


Works  of 


VITTORE  CARPACCIO. 

Active  1478-1522.  Pupil  and  follower  of  Gentile  Bellini. 

Berlin.  14.  Madonna  with  SS.  Catherine  and  Jerome.  E. 

23.  Consecration  of  Stephen,  1511. 

Caen.  17 1.  Santa  Conversazione  (in  part).  L. 
Ferrara.  Sala  VIII,  10.  Death  of  the  Virgin,  1508. 
Florence.  Uffizi,  583  bis.  Fragment,  Finding  of  True 
Cross. 

Frankfort  a/M.  38.  Madonna  and  Infant  John. 

Haigh  Hall  (near  Wigan).  Lord  Crawford,  Portrait  of 
Lady. 

London.  750.  Madonna  with  SS.  John  and  Christopher, 


Milan. 

and  Doge  Giovanni  Mocenigo,  1478. 

Mr.  Benson,  Female  Saint  Reading. 

Brera,  288.  Stephen  disputing,  1514.  307.  Pre- 
sentation of  Virgin  (in  part).  L.  309.  Mar- 
riage of  Virgin  (in  part).  L. 

Paris. 

Stuttgart. 

12 1 1 . Stephen  preaching.  L. 

13.  Glory  of  St.  Thomas,  1507. 
122.  Martyrdom  of  Stephen,  1515. 

Venice. 

Academy,  89.  Martyrdom  of  the  10,000  Virgins, 
1515.  5 66.  Healing  of  Madman  in  view  of 

Rialto,  1494.  57 2,  573,  574,  575,  1495  ; 579, 

'49°  i 577.  578.  580,  1493  ; 576,  1491.  Story 
of  St.  Ursula.  90.  Meeting  of  Joachim  and 
Anna,  1515.  44.  Presentation  of  Infant  Christ, 
1510. 

Museo  Correr,  Sala  IX,  14.  Visitation.  L. 
Sala  X,  8.  Two  Courtesans. 

Palazzo  Ducale,  Sala  di  Tre,  Lion  of  S. 
Marco,  1516. 

S.  Giorgio  Maggiore,  Sala  del  Conclave,  St. 
George  and  the  Dragon,  with  predelle,  1512. 

The  Venetian  Painters 


95 


Venice.  (Con.)  S.  Giorgio  degli  Schiavoni,  ten  pictures  along 
walls  of  Oratory  on  ground  floor,  and  Madonna 
over  altar.  St.  George  slaying  Dragon  ; St. 
George  bringing  Dragon  captive  ; St.  George 
baptising  the  Princess  and  her  Father,  M.D. 
V.  . . . ; Story  of  St.  Tryphonius  ; Agony  in 
Garden  ; Christ  in  House  of  Pharisee,  1502  ; 
St.  Jerome  bringing  his  Lion  to  Monastery  ; 
Burial  of  St.  Jerome,  1502  ; St.  Jerome  in  his 
Study. 

S.  Vitale,  St.  Vitale  between  SS.  George  and 
Valeria,  1514. 

Lady  Layard,  Augustus  and  Sibyl.  L.  Death 
and  Assumption  of  Virgin.  L.  St.  Ursula 
taking  leave  of  her  Father. 

Vienna.  7.  Christ  adored  by  Angels,  1496. 

VINCENZO  CATENA. 

Active  1495— 1 53 1 . Pupil  of  the  Bellini ; influenced  by  Carpaccio  and  Giorgione. 

Ashridge.  Lord  Brownlow,  Nativity. 

Bergamo.  Carrara,  11.  Christ  at  Emaus. 

Berlin.  32.  Portrait  of  Fugger.  L.  19.  Madonna,  Saints, 
and  Donor.  E.  4.  Pieta. 

Nazional  Galerie,  Raczynski  Collection.  13 
Madonna  and  Saints.  E. 

Boston,  U.  S.  A.  Mrs.  J.  L.  Gardner,  Christ  giving  keys  to 
Peter. 

Buda-Pesth.  74.  Madonna,  Saints,  and  Donor.  E. 

76.  Bust  of  female  Saint. 

78.  Holy  Family  and  female  Saint.  E. 

Cologne.  730®.  Madonna. 

Dresden.  65.  Holy  Family.  L.  54.  Madonna  and  two 
Saints.  E. 

73.  Madonna  with  St.  Catherine  and  the  Mag- 
dalen. 


Glasgow. 


96 


Works  of 


Liverpool. 

London. 


Modena. 

Nimes. 

Padua. 

Paris. 


Rome. 

Venice. 


Vienna. 


8 1.  Madonna  with  four  Saints  and  Donor.  E. 
234.  Warrior  Adoring  Infant  Christ.  L. 

694.  St.  Jerome  in  his  Study.  L. 

1121.  Bust  of  Youth. 

1160.  Adoration  of  Magi.  L. 

1455.  Circumcision. 

Lord  Ashburnham,  Madonna,  two  Saints,  and 
Donor,  1505. 

Mr.  Benson,  Holy  Family.  L. 

Mr.  Beaumont,  Nativity.  (?) 

Mr.  C.  Butler,  Christ  at  the  Well.  L. 

Mr.  Heseltine,  Madonna. 

Mr.  Mond,  Madonna,  Saints,  and  Donor.  E. 
404.  Madonna  and  two  Saints. 

174.  Head  of  an  Apostle. 

Sala  Emo,  29.  Circumcision.  E. 

1157.  Reception  of  Venetian  Ambassadors  at 
Cairo. 

Mme.  Andre,  Portrait  of  Woman. 

M.  Leopold  Goldschmidt,  Bust  of  Woman. 

M.  Salomon  Goldschmidt,  Circumcision. 

Doria,  326.  Circumcision. 

Palazzo  Ducale,  Sala  di  Tre,  Madonna,  two 
Saints,  and  Doge  Loredan.  E. 
Quirini-Stampalia,  Sala  III,  1.  Judith.  L. 
Giovanelli,  Madonna  with  John  the  Baptist  and 
female  Saint.  E. 

S.  Maria  Mater  Domini,  St.  Christina. 

S.  Simeon  Profeta,  The  Trinity.  E. 

S.  Trovaso,  Madonna.  E. 

Portrait  of  a Canon. 


The  Venetian  Painters 


97 


GIOVANNI  BATTISTA  CIMA. 


Bergamo. 

Berlin. 


Bologna. 


1460-1517  circa.  Pupil  of  Alvise  Vivarini ; influenced  by  Giovanni  Bellini. 

Ashridge.  Lord  Brownlow,  Small  Holy  Family  and  Saints. 
Morelli,  57.  Madonna. 

2.  Madonna  enthroned  with  four  Saints. 

7.  Madonna  and  Donor. 

15.  Healing  of  Anianus  (in  part). 

17.  Madonna. 

6 1.  Madonna. 

Boston,  (J.  S.  A.  Mr.  Quincy  Shaw,  Madonna.  E. 

Canford,  Wimborne  (Dorset).  Lord  Wimborne,  Bust  of  God 
the  Father. 

Conegliano.  Duomo,  Madonna  and  Saints,  1493. 

Dresden.  61.  The  Saviour.  63.  Presentation  of  Virgin. 

Diisseldorf.  18.  Madonna.  Coronation  (in  part).  L. 

Frankfort  a/M.  39.  Madonna. 

40.  Madonna  and  two  Saints. 

London.  300.  Madonna.  634.  Madonna.  816.  Incredu- 
lity of  Thomas,  1504.  1120.  St.  Jerome. 

1310.  Ecce  Homo.  (?) 

Hertford  House,  St.  Catherine. 

Mr.  Ludwig  Mond,  Two  Saints. 

Mr.  J.  E.  Taylor,  Madonna  with  two  Saints 
(lunette). 

Mells  Park,  Frome.  Mrs.  J.  Horner.  The  Resurrection 
(predella). 

Milan.  Brera,  191.  SS.  Peter  Martyr,  Augustin,  and 
Nicholas  of  Bari.  286.  SS.  Jerome,  Nicholas 
of  Tolentino,  Ursula,  and  another  female  Saint. 
289.  SS.  Luke,  Mary,  John  the  Baptist,  and 
Mark.  293.  Madonna.  300.  St.  Peter  be- 
tween John  the  Baptist  and  St.  Paul,  1516. 
302.  St.  Jerome.  303.  St.  Giustina  and  two 
other  Saints. 


98 


Works  of 


Milan.  (Con.)  Poldi-Pezzoli,  Head  of  Female  Saint. 
Modena.  14  3-  Pieta. 


Munich. 

1033.  Madonna  with  Mary  Magdalen  and  St. 
Jerome.  E. 

Olera. 

Parma. 

Church,  Polyptych.  E. 

360.  Madonna  with  SS.  Cosmos  and  Damian. 

361.  Madonna  with  SS.  Michael  and  Augustin. 
370.  Endymion. 

373.  Apollo  and  Marsyas. 

Paris. 

1259.  Madonna  with  John  and  Magdalen. 

Richmond.  Sir  F.  Cook,  Madonna. 


Venice. 

Academy,  603.  Madonna  with  SS.  John  and 
Paul.  604.  Pieta.  597.  Madonna.  61 1. 
Christ,  Thomas,  and  Magnus.  36.  Madonna 
with  six  Saints.  592.  Tobias  and  Angel,  SS. 
James  and  Nicholas. 

Seminario,  God,  the  Father  (small  lunette). 
Carmine,  Adoration  of  Shepherds. 

S.  Giovanni  in  Bragora,  Baptism,  1494.  SS. 
Helen  and  Constantine.  Three  Predelie  with 
Story  of  Finding  of  True  Cross. 

S.  Giovanni  e Paolo,  Coronation  of  the  Virgin. 
S.  Maria  dell’  Orto,  St.John  between  SS.  Paul, 
Jerome,  Mark,  and  Peter. 

Lady  Layard,  Madonna  with  SS.  Francis  and 
Paul.  Madonna  with  SS.  Nicholas  of  Bari  and 
John  the  Baptist. 

Vicenza. 

Sala  IV,  18.  Madonna  with  SS.  Jerome  and 
John,  1489. 

Vienna. 

19.  Madonna  with  SS.  Jerome  and  Louis. 

The  Venetian  Painters 


99 


CARLO  CRIVELLI. 

B.  1430-1440  ; d.  after  1493.  Pupil  of  the  first  Vivarini ; influenced  by 
the  Paduans. 

Ancona.  i.  Madonna.  E. 

Ascoli.  Duomo,  Altar-piece,  with  Pieta,  1473. 

Bergamo.  Lochis,  129.  Madonna. 

Berlin.  . 1156.  The  Magdalen. 

1 1 56*.  Madonna,  St.  Peter,  and  six  other  Saints. 
Brussels.  16.  Madonna.  17.  St.  Francis. 

Buda-Pesth.  Madonna. 

Florence.  Panciatichi,  ioi.  Pieta. 

Frankfort  a/M.  33,  34.  Annunciation. 

London.  602.  Pieta. 

668.  The  Blessed  Ferretti  in  Ecstasy. 

724.  Madonna  with  SS.  Sebastian  and  Jerome. 
739.  Annunciation,  i486. 

7 88.  Altar-piece  in  thirteen  compartments, 
1476. 

809.  Madonna  with  SS.  Sebastian  and  Francis, 
149K 

906.  Madonna  in  Ecstasy,  1492. 

907.  SS.  Catherine  and  Magdalen. 

Lady  Ashburton,  St.  Dominic.  St.  George. 

Mr.  Benson,  Madonna,  1472. 

Mr.  R.  Crawshay,  Pieta. 

Hertford  House,  St.  Roch. 

Mr.  Mond,  SS.  Peter  and  Paul. 

Lord  Northbrook,  Madonna.  E.  Resurrection. 

E.  SS.  Bernardino  and  Catherine. 

Mr.  Stuart  M.  Samuel,  St.-  George  and  the 
Dragon. 

South  Kensington,  Jones  Collection,  665.  Ma- 
donna. 


ICO 


Works  of 


Macerata.  36.  Madonna,  1470. 

Massa 

Fermana.  Municipio,  Altar-piece,  1468. 

Milan.  Brera,  189.  Crucifixion.  193.  Madonna.  L. 


Paris. 

Pausula. 

Richmond. 

Rome. 

283.  Madonna  and  Saints,  1482.  294.  SS. 

James,  Bernardino,  and  Pellegrino.  295. 
SS.  Antony  Abbot,  Jerome,  and  Andrew. 
Galleria  Oggiono,  Coronation  of  Virgin,  with 
John,  Catherine,  Francis,  Augustin,  and  other 
Saints  (in  great  part).  Above,  a Pieta,  1493. 
Museo  Civico,  Collection  dell’  Acqua,  St.  John. 
St.  Bartholomew. 

Poldi-Pezzoli,  Sala  Dorata,  20.  St.  Francis 
adoring  Christ.  Pinacoteca,  78.  St.  Sebas- 
tian. 

1268.  St.  Bernardino,  1477. 

S.  Agostino,  Madonna. 

Sir  F.  Cook,  Madonna.  E. 

Lateran,  Madonna,  1482. 

Vatican,  Pieta. 

Strassburg.  Adoration  of  Shepherds. 


Venice. 

Academy,  103.  SS.  Jerome  and  Augustin.  SS. 
Peter  and  Paul. 

Verona. 

351.  Madonna.  E. 

GIORGIONE. 

1478-1510.  Pupil  of  Giovanni  Bellini ; influenced  by  Carpaccio. 

Berlin.  1 2\  Portrait  of  Man.  E. 

Buda-Pesth.  94.  Portrait  of  Antonio  Brocardo. 
Castelfranco.  Duomo,  Madonna  with  SS.  Francis  and  Lib- 
erale.  E. 

Dresden.  185.  Sleeping  Venus. 


p 


Warrior  Adoring  Infant  Christ . By  Catena . 

Picture  in  the  National  Gallery , London. 


. 


- ■ .„/• 

■ ■■  I 


The  Venetian  Painters 


IOI 


Florence.  Uffizi,  621.  Trial  of  Moses.  E. 

622.  Knight  of  Malta. 

630.  Judgment  of  Solomon.  E. 

Hampton  Court.  101.  Shepherd  with  Pipe. 

Madrid.  Madonna  with  SS.  Roch  and  Antony  of  Padua. 


Paris. 

Rome. 

Venice. 

1 136.  Fete  Champetre. 

Villa  Borghese,  143.  Portrait  of  a Lady. 
Academy,  516.  Storm  calmed  by  St.  Mark.  L. 

Finished,  in  small  part,  by  Paris  Bordone. 
Seminario,  Apollo  and  Daphne. 

Giovanelli,  Gipsy  and  Soldier. 

S.  Rocco,  Christ  bearing  Cross. 

Vicenza. 

Vienna. 

Casa  Loschi,  Christ  bearing  Cross.  E. 

16.  Evander  showing  /Eneas  the  Site  of  Rome. 

GUARDI. 

1 7 12- 1 793.  Pupil  ol  Canaletto. 

Albi. 

i.  View  of  Salute  and  Giudecca. 

Amiens.  216,  217,  219.  Views. 

Badger  Hall  (Shropshire).  Mr.  F.  Capel-Cure,  Scuola  di 
San  Marco. 


Bassano. 

Bergamo. 

Sala  del  Cavallo,  85.  The  Piazza. 

Lochis,  89-93,  1 06-1 08.  Landscapes  and  Views. 
Signor  Baglioni,  Two  Venetian  Views. 

Count  Moroni.  Villa  by  the  Sea. 

Berlin. 

50iA.  Grand  Canal.  501®.  Lagoon.  501°*°. 
Cemetery  Island. 

Biel,  N.  B.  Mrs.  Hamilton  Ogilvie,  Salute.  Redentore. 
Boston,  U.  S.  A.  Mrs.  J.  L.  Gardner,  Large  View  of  Venice. 
Bowood.  Marquess  of  Lansdowne,  Three  Views  in  Venice. 
Brighton.  Mr.  Constantine  Iondes,  Piazza  in  Mist. 
Brussels.  280.  Scene  in  St.  Mark’s. 


102 


Works  of 


Buda-Pesth.  629-640.  Views  of  Venice. 
Cambridge.  Fitzwilliam  Museum,  Four  small  Views. 
Edinburgh.  600,  602.  Landscapes. 

Glasgow.  202,  203.  Views  of  Venice. 


Hamburg. 

London. 

Consul  Weber,  143.  Ruins.  144.  Rialto. 

210,  1054.  Views  in  Venice. 

South  Kensington,  Jones  Collection,  104.  View 
near  Venice. 

The  Misses  Cohen,  Three  Studies. 

Dorchester  House,  View  from  Piazzetta. 

Sir  Wm.  Farrer,  View  near  Venice. 

Sir  A.  Wollaston  Franks,  An  Island. 

Sir  Julian  Goldschmid,  Boat  Race. 

Hertford  House,  Nine  Views  of  Venice. 

Lord  Houghton,  View  of  Riva. 

Mr.  Mond,  Pius  VI  holding  a Reception. 

Dr.  Richter,  Cannareggio. 

Mr.  Salting,  The  Rialto.  View  near  Venice. 

Gothic  Ruins.  Classic  Ruins. 

Mrs.  Anderson  Weston,  Grand  Canal. 

Milan. 

Museo  Civico,  69,  71-74.  Landscapes. 
Poldi-Pezzoli,  87.  Piazzetta.  89.  Dogana.  116, 
1 17.  Tiny  Landscapes. 

Signor  Bertini,  View  of  Lagoon. 

Prince  Trivulzio,  Two  small  Landscapes. 

Modena. 

143.  Piazetta. 

180.  S.  Giorgio. 

Montpellier.  483.  Storm  on  Canal. 

Naples.  Museo  Filangieri,  Court  of  Doge’s  Palace. 

New  York,  U.  S.  A.  Metropolitan  Museum.  2.  Salute. 
6.  Rialte. 


Oxford. 

Padua. 

Taylorian  Museum,  65,  66.  Views  in  Venice. 
300,  381.  Views  in  Venice.  802.  Hunting 
Scene. 

The  Venetian  Painters 


103 


Paris.  21 1.  Procession  of  Doge  to  S.  Zaccaria. 

1328.  Embarkment  in  Bucentaur.  1329.  Fes- 
tival at  Salute. 

1330.  “Jeudi  Gras  a Venise.”  1331.  Corpus 
Christi. 


1333.  Sala  di  Collegio.  1334.  Coronation  of 
Doge. 

Mme.  Andre,  Two  Views  of  Venice. 

M.  Leopold  Goldschmidt,  Dogana.  Piazzetta. 
Richmond.  Sir  F.  Cook,  The  Piazza. 

Rome.  Colonna,  78.  Venetian  Church. 

Don  Marcello  Massarenti,  Doge’s  Palace. 
Rouen.  235.  A Villa. 

Strassburg.  18.  The  Rialto. 

Toulouse.  2.  Rialto.  E. 

22.  Bucentaur.  E. 


Turin.  290  bis.  Cottage.  781.  Staircase.  782.  Bridge 
over  Canal. 

Venice.  Museo  Correr,  Sala  X,  25.  The  Ridotto. 

26.  Parlour  of  Convent  of  S.  Zaccaria. 


Verona.  223,  225.  Landscapes. 


BERNARDINO  LICINIO. 

Active  1520-1544.  Pupil  of  Pordenone  ; influenced  by  Giorgione, 

Palma,  and  Bonifazio. 

Alnwick.  Duke  of  Northumberland,  Family  Group. 
Balcarres,  N.  B.  Lord  Crawford,  Portrait  of  Man.  1535. 
Bergamo.  Lochis,  197.  Portrait  of  a Lady. 

Signor  Piccinelli,  Madonna  and  Saints. 

Berlin.  198.  Portrait  of  Young  Woman. 

Boston,  U.  S.  A.  Mr.  Quincy  Shaw,  Madonna  and  two 
Saints. 


104 

Works  of 

Brescia. 

Martinengo,  Sala  C,  16.  Portrait  of  a Young 
Man,  1520. 

Duomo  Vecchio,  Christ  Bearing  Cross.  Adora- 
tion of  Shepherds. 

Brighton.  Mr.  H.  Willett,  Board  of  a Harpsichord. 
Buda-Pesth.  91.  Portrait  of  Lady. 

Herr  Rath,  Portrait  of  Lady. 

Cambridge,  U.  S.  A.  Prof.  C.  E.  Norton,  Portrait  of  Young 
Man. 

Canford,  Wimborne  (Dorset).  Lord  Wimborne,  A Lady  and 


Dresden. 

Florence. 

a Gentleman  feeling  her  Pulse.  Three  Wo- 
men, one  as  Salome,  and  a Man.  Santa  Con- 
versazione. 

200.  Portrait  of  a Lady,  1533. 

Uffizi,  574.  Madonna  with  St.  Francis.  587. 
Portrait  of  Man. 

Genoa. 

Brignole-Sale,  Sala  VII,  Portrait  of  Francesco 

Philetus. 

Hampton  Court.  71.  Lady  playing  on  Virginals.  104. 
Family  Group,  1524. 

Horsmonden.  Mrs.  Austen,  Group  of  two  Men  and  a Wo- 


London. 

man. 

Portrait  of  a Young  man. 

Lady  Ashburton,  Young  Man  with  his  Hand  on 
a Skull. 

Mr.  C.  Butler,  Portrait  of  Lady,  1522. 

Mr.  Doetsch,  Barbara  Kressin,  1544. 
Dorchester  House,  Portrait  of  Man.  Adoration 
of  Shepherds. 

Lucca. 

Milan. 

Sala  I,  68.  Santa  Conversazione. 

Mueso  Civico,  88.  Portrait  of  Lady. 
Archbishop’s  Palace,  Holy  Family. 

Signor  Crespi,  Santa  Conversazione. 

Casa  Scotti,  Holy  Family  with  two  Shepherds. 
Madonna,  three  Saints,  male  and  female  Donors. 

The  Venetian  Painters 


105 


Modena.  123.  Portrait  of  a Lady. 

Munich.  1120.  Portrait  of  a Man. 

Munster  in  W.  143.  Bust  of  Man,  1 530. 

Padua.  Sala  Romanino,  814.  Portrait  of  Young  Man. 
Rome.  Villa  Borghese,  115.  Family  Group.  171. 

Santa  Conversazione. 

Miss  Hertz,  Head  of  Ceres. 

Rossie  Priory,  N.  B.  Lord  Kinnaird,  Portrait  of  Lady. 
Rovigo.  4.  St.  Margaret  between  SS.  Catherine  and 

Lucy.  8.  Portrait  of  a Scholar. 

Saletto.  Church,  St.  Silvester  between  S.  Antony  of 
Padua  and  Giustina,  1535. 

Venice.  303.  Portrait  of  Woman. 

31 1.  Group  of  Putti. 

304.  Portrait  of  Young  Woman. 

Lady  Layard,  Santa  Conversazione. 

Frari,  Madonna  enthroned  with  Saints. 

The  predella  contains  five  Friars. 

Vienna.  22.  Portrait  of  Ottaviano  Grimani,  1541. 

Harrach  Collection,  Madonna  and  female  Do- 
nor. 


PIETRO  LONGHI. 

1702-1762.  Follower  of  the  Bolognese  painter,  Crespi. 

Bergamo.  Lochis,  60.  Gambling  Scene.  6ie  Coffee  Scene. 
Morelli,  94.  Portrait  of  Girl. 

Sig.  Baglioni,  Country  Party. 

Cambridge,  U.  S.  A.  Prof.  C.  E.  Norton.  Portrait  of 

Senator. 

Dresden.  595.  Portrait  of  Lady. 

Florence.  Mr.  Loeser,  Milliner  Scene. 

Hampton  Court.  549,  551.  Genre  pictures,  1744. 

Keir,  N.  B.  Mr.  Arch.  Stirling,  Lady  sitting  for  Portrait. 


106 

Works  of 

London. 

1100,  iioi.  Genre  pictures.  1102.  Andrea 
Tron. 

Mr.  F.  Cavendish-Bentinck,  Visit  to  Nuns. 

Mr.  Arthur  James.  Four  genre  pictures. 

Mr.  Mond,  Card  Party.  Portrait  of  a Lady. 

Dr.  Richter,  Card  Party.  Lady  at  Toilet. 

Milan. 

Modena. 

Venice. 

Signor  Crespi,  Portrait  of  Man. 

215.  A Letter  Writer. 

Academy,  464-470.  Genre  pictures. 

Museo  Correr,  Sala  X,  25,  26,  31-40.  Scenes 
of  Venetian  Life.  41.  Boys  on  Horseback. 
Portrait  of  Goldoni. 

Palazzo  Grassi,  Staircase,  Frescoes:  Seven 
Scenes  of  Fashionable  Life. 

Quirni-Stampalia,  Sala  X,  220.  Portrait  of 
Daniele  Dolfino. 

Sala  XIII,  11-17.  The  Seven  Sacraments.  18. 
Temptation  of  St.  Antony.  19.  Gambling 
Scene.  20.  A Circus.  21.  Monks  and  Canons. 
22.  Study  of  Geography.  26,  299.  Portraits 
of  Ladies. 

LORENZO  LOTTO. 

1480-1556.  Pupil  of  Alvise  Vivarini  ; influenced  by  Giovanni  Bellini 
and  Giorgione. 

Alzano  Maggiore  (near  Bergamo).  Duomo,  Assassination 
of  St.  Peter  Martyr. 


Ancona. 

13.  Assumption  of  Virgin,  1550.  37.  Madonna 

with  four  Saints.  L. 

Asolo. 

Bergamo. 

Madonna  in  Glory  with  two  Saints,  1 506. 
Carrara,  Three  Predelle  belonging  to  S.  Bar- 
tolommeo Altar-piece.  66.  Marriage  of  S. 
Catherine,  with  portrait  of  N.  Bonghi,  1523. 
Portrait  of  a Lady. 

The  Venetian  Painters 


107 


Bergamo.  {Con.)  Lochis,  32,  33,  34.  Sketches  for  Predelle, 
containing  the  story  of  S.  Stephen.  185. 
Holy  Family  and  S.  Catherine,  1533. 

S.  Alessandro  in  Colonna,  Pieta. 

S.  Alessandro  in  Croce,  Trinity. 

S.  Bartolommeo,  Altar-piece,  1516. 

S.  Bernardino,  Altar-piece,  1521. 

S.  Maria  Maggiore,  Intarsias,  1524-1530. 

S.  Michele,  Frescoes  in  Chapel  L.  of  Choir. 

S.  Spirito,  Altar-piece,  1521. 

Signor  Piccinelli,  Madonna  with  SS.  Sebastian 
and  Roch. 

Berlin.  153.  Portrait  of  an  Architect. 

182,  230.  Portraits  of  Young  Men. 

323.  SS.  Sebastian  and  Christopher,  1531. 

325.  Christ  taking  leave  of  his  Mother,  1522. 

Brescia.  Tosio,  Sala  XIII,  34.  Nativity. 

Buda-Pesth.  Angel  with  Globe  and  Sceptre  (originally  top 
of  S.  Bartolommeo  Altar-piece  at  Bergamo). 

Celana  (near  Bergamo).  Church,  Assumption  of  Virgin,  1527. 

Cingoli  (Province  of  Macerata).  S.  Domenico,  Madonna  with 
six  Saints,  and  fifteen  small  scenes  from  the 
Lives  of  Christ  and  the  Virgin,  1539. 

Costa  di  Mezzate  (near  Bergamo).  Marriage  of  St.  Cath- 
erine, 1522. 

Dresden.  295.  Madonna,  1518. 

Florence.  Uffizi,  575.  Holy  Family  with  St.  Jerome,  1534. 

Hamburg.  Consul  Weber,  33.  St.  Jerome. 

Hampton  Court.  114.  Portrait  of  Young  Man.  E. 

148.  Portrait  of  Andrea  Odoni,  1527. 

Hermannstadt.  St.  Jerome. 

Jesi.1  Municipio,  Three  Predelle  containing  Story  of  St. 

Lucy. 

1 All  the  Lottos  at  Jesi  are  presently  to  be  transported  to  the  Palazzo  della 

Signoria. 


io8 


Works  of 


Jesi.  {Con.) 


London. 


Loreto. 


Madrid. 

Milan. 


Monte  S. 


LiBRARY,  Pieta,  1512. 

Annunciation.  St.  Lucy  before  the  Judge.  Ma- 
donna and  Saints,  Francis  receiving  Stig- 
mata (lunette)  1526.  Visitation,  Annunciation 
(lunette)  1530. 

699.  Portraits  of  Agostino  and  Niccolo  della 
Torre,  1515. 

1047.  Family  group. 

1 105.  Portrait  of  Prothonotary  Giuliano. 

Bridgewater  House,  Madonna  and  Saints.  E. 

Dorchester  House,  Portrait  of  a Lady. 

Mrs.  Martin  Colnaghi,  Madonna  with  SS.  Je- 
rome and  Antony  of  Padua,  1 522. 

Sir  W.  M.  Conway,  Danae.  E. 

Palazzo  Apostolico,  30.  SS.  Christopher,  Se- 
bastian, and  Roch.  34.  Christ  and  Adulter- 
ess. 42.  Nativity.  25,  27.  SS.  Lucy  and 
Thecla.  24,  28.  Two  Prophets.  L.  31. 
Michael  driving  Lucifer  from  Heaven.  L.  32. 
Presentation  in  Temple.  L.  21.  Baptism. 
20.  Adoration  of  Magi.  L.  50.  Sacrifice 
of  Melchisedec.  L. 

287.  Bridal  Couple,  1523.  487.  St.  Jerome. 

Brera,  244.  Preta,  1545.  253.  Portrait  of  Lady. 
254.  Portrait  of  Old  Man.  255.  Portrait  of 
Man.  All  L. 

Gal.  Oggioni,  16.  Assumption  of  Virgin.  E. 
67.  Portrait  of  Man. 

Poldi-Pezzoli,  Pinacoteca,  86.  Holy  Family. 

Museo  Civico,  83.  Portrait  of  Young  Man. 

Borromeo,  Christ  on  Cross  with  Symbols  of  the 
Passion. 

Dr.  Frizzoni,  St.  Catherine. 

Guisto  (near  Macerata).  Church,  Crucifixion, 
1531. 


Jacob  and  Rachel.  By  Palma  Vecchio. 

Picture  in  the  Royal  Gallery,  Dresden. 


■ 

■ 


- 


The  Venetian  Painters 


IO9 


Munich. 

Nancy. 

Naples. 

1083.  Marriage  of  St.  Catherine.  E. 

Head  of  a Man.  L. 

Sala  Veneta,  56.  Madonna  with  St.  Peter 
Martyr.  E.  Bust  of  Man  in  white  cap  and 
coat  (?).  E. 

Osimo. 

Paris. 

Municipio,  Madonna  and  Angels. 
1349.  Christ  and  Adulteress. 

1350.  St.  Jerome,  1500.  1351.  Nativity. 

Ponteranica  (near  Bergamo).  Church,  Altar-piece  in  six 
panels. 


Recanati. 

Municipio,  Altar-piece  in  six  parts,  1508.  Trans- 
figuration. E. 

S.  Domenico,  Fresco  : S.  Vincent  in  Glory. 

S.  Maria  sopra  Mercanti,  Annunciation. 

Rome. 

Borghese,  193.  Madonna  with  S.  Onofrio  and 
a Bishop,  1508.  185.  Portrait  of  Man. 

Capitol,  176.  Portrait  of  Man. 

Doria,  388.  St.  Jerome. 

Rospigliosi,  Allegory. 

Prince  Doria,  Portrait  of  Man. 

Sedrina  (near  Bergamo).  Church,  Madonna  in  Glory  and 
four  Saints,  1 542. 

St.  Petersburg.  Leuchtenberg  Collection,  St.  Catherine, 
1521. 


Trescorre. 

Treviso. 

Suardi  Chapel,  Frescoes,  1 524. 

Sala  Sernagiotto,  20.  Portrait  of  Monk,  1526. 
S.  Cristiana,  Altar-piece,  Dead  Christ  (lunette). 
E. 

Venice. 

Carmine,  S.  Nicholas  in  Glory,  1529. 

S.  Giacomo  dall’  Orio,  Madonna  and  Saints, 
1546. 

S.  Giovanni  e Paolo,  S.  Antonino  bestowing 
Alms,  1542. 

I IO 


Works  of 


Vienna. 

214.  Santa  Conversaizone. 

215.  Portrait  of  Man. 

220.  Three  Views  of  a Man. 

BARTOLOMMEO  MONTAGNA. 

1450  circa-1523.  Pupil  of  Alvise  Vivarini  ; influenced  by  Gentile  Bellini  and  the 
Paduan  sculptor  Bellano. 


Belluno. 

Bergamo. 

34.  Madonna.  E. 

Lochis,  128.  Madonna  with  SS.  Roch  and  Se- 
bastian, 1487. 

Morelli,  44.  St.  Jerome. 

Frizzoni-Salis,  Madonna. 

Berlin. 

Bremen. 

44.  Madonna,  Saints,  and  Donors,  1500. 
Kunsthalle,  16.  Head  and  Hands  of  Madonna 

from  an  Annunciation. 

Certosa  (near  Pavia).  Madonna,  SS.  John,  Onofrio,  and  three 
Angels. 


London. 

Mr.  C.  Butler,  Madonna. 

Sir  Wm.  Farrer,  Madonna.  E.  Two  Cassone 
Tondi.  L. 

Mr.  Ludwig  Mond,  Madonna  with  St.  Roch.  E. 
Sir  B.  Samuelson,  Madonna  Adoring  Child. 

Milan. 

Brera,  167.  Madonna,  four  Saints,  and  three 
Angels,  1499. 

Poldi-Pezzoli,  St.  Jerome.  St.  Paul.  Two  Tondi 
(on  a cassone). 

Dr.  Gust.  Frizzoni,  St.  Jerome. 

Modena. 

Padua. 

5.  Madonna,  1503. 

Bishop’s  Palace,  Hall,  Frieze  with  Busts  of 
Paduan  Bishops. 

S.  Maria  in  Vanzo,  Madonna  and  four  Saints. 
Scuola  del  Santo,  Fresco  6.  Opening  of  St. 

Anthony’s  Tomb. 

Panshanger.  Lord  Cowper,  Madonna. 


The  Venetian  Painters 


I I I 


Paris.  1393.  Ecce  Homo.  1394.  Three  Angels. 
Praglia  (near  Padua).  Refectory,  fresco  : Crucifixion. 

Strassburg.  6.  Holy  Family. 

Venice.  Academy,  80.  Madonna,  SS.  Sebastian  and 
Jerome.  78.  Christ  between  SS.  Roch  and 
Sebastian. 

Lady  Layard,  John  the  Baptist  between  two 
other  Saints. 

Verona.  76.  Two  Saints. 

S.  Nazzaro  e Celso,  SS.  Nazzaro  and  Celso.  SS. 
John  and  Benedict.  Pieta.  SS.  Blaise  and 
Giuliana.  Frescoes  : Legend  of  St.  Blaise. 
All  1491— 1493. 

Vicenza.  Sala  V,  1.  Holy  Family.  2.  Madonna  en- 
throned, four  Saints,  three  Angels.  E.  3. 
Madonna  with  SS.  Monica  and  Mary  Mag- 
dalen. 5.  Madonna.  L.  6.  Madonna.  L.  8. 
Presentation  in  Temple.  9.  S.  Agnes.  17. 
Madonna  with  SS.  John  the  Baptist  and 
Onofrio.  19.  Madonna.  L. 

Duomo,  Fresco  : Nativity.  Altar-piece,  Madonna 
with  SS.  Catherine  and  Margaret.  Frescoes  : 
SS.  Margaret  and  Catherine. 

S.  Corona,  Magdalen  between  four  other  Saints. 
S.  Lorenzo,  Fresco  in  Chapel  L.  of  Choir. 

Monte  Berico,  Pieta,  1500.  Fresco  : Pieta. 

PALMA  VECCHIO. 


1480  circa-1528.  Pupil  of  Giovanni  Bellini ; influenced  by  Giorgione. 

Alnwick.  Duke  of  Northumberland,  Portrait  of  Lady 
(landscape  by  Cariani). 

Bergamo.  Lochis,  183.  Madonna  and  two  Saints.  L. 
Berlin.  197V  Head  of  Young  Woman.  E. 


I 12 


Works  of 


Berlin.  (Cow.)  197s.  Bust  of  Woman. 

1 74.  Portrait  of  Man. 

Brunswick.  Adam  and  Eve.  E. 

Buda-Pesth.  82.  Madonna  with  St.  Francis  (finished  by 
Cariani). 

Cambridge.  Fitz  William  Museum,  Venus.  L (in  part). 
Canford,  Wimborne  (Dorset).  Lord  Wimborne,  Bust  of  a 
Lady. 


Dresden. 

188.  Madonna  with  John  the  Baptist  and  St. 
Catherine. 

189.  Three  Sisters. 

190.  Venus. 

19 1 . Holy  Family  with  S.  Catherine. 

192.  Meeting  of  Jacob  and  Rachel.  L. 

Florence. 

Genoa. 

Uffizi,  619.  Judith.  L. 

Brignole-Sale,  Madonna  with  Madgalen  and 

John.  L. 

Glasgow.  336.  Holy  Family  (finished  by  Cariani). 
Hamburg.  Consul  Weber,  Annunciation. 

Hampton  Court.  115.  Santa  Conversazione. 

240.  Head  of  Woman.  L. 
Horsmonden.  Mrs.  Austen,  Portrait  of  a Courtesan. 


London. 

636.  Portrait  of  Man. 

Mr.  Benson,  Santa  Conversazione  and  Donor 
(finished  by  Cariani). 

Mr.  Wickham  Flower,  Santa  Conversazione 
(finished  by  Cariani). 

Mr.  Mond,  Bust  of  Woman.  L. 

Milan. 

Brera,  290.  SS.  Helen,  Constantine,  Roch,  and 
Sebastian.  172.  Adoration  of  Magi,  L.  (fin- 
ished by  Cariani). 

Modena. 

Munich. 

Marchese  Lotario  Rangoni,  Madonna  and  Saints. 
1108.  Madonna,  SS.  Roch  and  Mary  Magdalen. 

The  Venetian  Painters 


113 


Naples. 

Paris. 

Peghera. 

Rome. 


Serina. 

Venice. 


Vicenza. 

Vienna. 


Sala  Grande,  28.  Santa  Conversazione,  with 
male  and  female  Donors. 

1399.  Adoration  of  Shepherds  and  female  Do- 
nor. 

M.  Alphonse  de  Rothschild,  Portrait  of  a Lady. 
Church,  Polyptych. 

Borghese,  106.  Lucrece.  L.  163.  Madonna, 
Francis,  Jerome,  and  Donor. 

Capitol,  203.  Christ  and  Adulteress. 

Colonna,  22.  Madonna,  St.  Peter,  and  Donor. 
Church,  Polyptych. 

Academy,  310.  Christ  and  Adulteress. 

302.  St.  Peter  enthroned  and  six  other  Saints. 

315.  Assumption  of  Virgin.  L. 
Quirini-Stampalia,  Sala  IV,  Unfinished  Portrait 
of  Young  Woman.  L. 

Sala  XVII,  Portrait  of  Man. 

Giovanelli,  Sposalizio.  L. 

S.  Maria  Formosa,  St.  Barbara,  Altar-piece. 

Lady  Layard,  Knight  and  Lady  (a  fragment). 

S.  Stefano,  Madonna  and  Saints. 

134.  John  the  Baptist. 

139.  The  Visitation  (finished  by  Cariani). 

140.  Santa  Conversazione. 

143.  Portrait  of  Lady.  L. 

137.  Violante.  L. 

133,  138,  141,  142,  Busts  of  Women. 

329E.  Portrait  of  Old  Man. 

136.  Lucretia. 

Lichtenstein,  Santa  Conversazione.  Holy  Fa  in- 
ky and  two  female  Saints.  L. 


Works  of 


114 

vvorKs  01 

SEBASTIANO  DEL  PIOMBO. 

1485  circa- 1 547.  Pupil  of  Giovanni  Bellini,  Cima,  and  Giorgione;  later,  influ- 


Alnwick. 

Berlin. 

enced  by  Michelangelo. 

Duke  of  Northumberland,  Visitation. 

237.  Pieta.  L.  259A.  Portrait  of  a Knight 
L.  259B.  “ Dorothea.’’ 

Bowood. 

Marquess  of  Lansdowne,  Portrait  of  “Count 

Federigo  da  Bozzolo.” 

Broomhall,  N.  B.  Lord  Elgin,  Portrait  of  Roman  Lady. 
Buda-Pesth.  Portrait  of  Raphael. 


Cracow. 

Florence. 

Prince  Czartoryski,  Portrait  of  (?)  Raphael. 
Uffizi,  1123.  “Fornarina,”  1512.  592.  Death 

of  Adonis. 

Pitti,  179.  Martyrdom  of  St.  Agatha,  1520. 

409.  Portrait  of  Man.  L. 

Linlathen,  N.  B.  Col.  Erskine,  Portrait  of  Cardinal  Ninco- 


London. 

fort.  L. 

1.  Resurrection  of  Lazarus,  1519.  24.  Por- 

trait of  Lady.  L.  1450.  Holy  Family  and 
Donor. 

Mr.  Benson,  Portrait  of  Man.  L. 

Duke  of  Grafton,  Carondelet  and  his  Secreta- 

Naples. 

ries. 

Mr.  Ludwig  Mond,  Portrait  of  Pietro  Aretino. 
Mr.  Salting,  Bust  of  a Lady  as  Salome  (?),  1510. 
Sala  Grande,  56.  Portrait  of  Ecclesiastic.  L. 
Sala  Veneta,  15.  Head  of  Clement  VII.  L. 
Sala  dei  Correggio,  2.  Holy  Family.  L. 

Paris. 

1352.  Visitation,  1521.  1500.  St.  John  in  Desert. 
M.  Alphonse  de  Rothschild,  Violin  Player. 

Parma. 

Richmond. 

302.  Clement  VII.  and  a Chamberlain.  L. 

Sir  Francis  Cook,  Bust  of  a Lady  as  the  Mag- 
dalen (?). 

The  Venetian  Painters 


115 


Rome. 

Prince  Doria,  Portrait  of  Andrea  Doria.  L. 

Sig.  Del  Nero,  Portrait  of  a Prelate. 

Farnesina,  Sala  di  Galatea,  Frescoes  in  8 
lunettes,  1511. 

S.  Maria  del  Popolo,  Birth  01  Virgin.  L. 
(in  part.) 

S.  Pietro  in  Montorio,  Frescoes  first  Chapel 

Right. 

St.  Petersburg.  Portrait  of  Cardinal  Pole.  L. 
Siena.  Palazzo  Saracini,  Portrait  of  Man.  L. 


T reviso. 
Venice. 

S.  Niccolo,  Incredulity  of  Thomas.  E. 

Academy,  95.  Visitation.  (?)  E. 

Lady  Layard,  Pieta.  E. 

S.  Bartolommeo  in  Rialto,  SS.  Bartholomew, 
Louis,  Sinibald,  and  Sebastian,  on  separate 
panels.  E. 

S.  Giovanni  Crisostomo,  St.  John  Chrysostom 
enthroned,  and  other  Saints.  E. 

Vienna. 

Viterbo. 

17.  Portrait  of  (?)  Cardinal  Giulio  di  Medici. 
Pieta.  L.  1 525. 

POLIDORO  LANZIANI. 

1515  (?)— 1 565. 

Imitator  of  Titian  ; influenced  by  Bonifazio  and  Pordenone  ; 
later,  by  Paul  Veronese. 

Ashridge.  Lord  Brownlow,  Christ  and  the  Adulteress. 
Badger  Hall.  (Shropshire).  Mr.  F.  Capel-Cure,  Madonna 


Bergamo. 

Berlin. 

and  kneeling  Jerome.  Madonna,  St.  Eliza- 
beth, and  Children. 

Morelli,  96.  Holy  Family. 

159-160.  Sporting  Cupids. 

173.  Madonna  and  Saints. 

Nazional  Galerie,  Raczynski  Coll.,  6.  St. 
Nicholas  presenting  children  to  the  Virgin.  L. 

Works  of 


1 16 

Berlin.  {Con.)  Herr  Wesendonck,  ii.  Portrait  of  Young 
Woman.  77.  Madonna  and  Saints. 

Boston,  U.  S.  A.  Mrs.  J.  L.  Gardner,  Portrait  of  Isabella 
D’Este. 

Buda-Pesth.  96.  Holy  Family  and  St.  Catherine. 

113.  Madonna  and  Young  Bishop. 

Cambridge.  Fitzwilliam  Museum,  145,  146.  Sante  Conver- 
sazioni. 

Cologne.  730k.  Predelle  : Nativity,  Adoration,  and  Cir- 
cumcision. 

Dresden.  214.  Madonna,  Magdalen,  and  Venetian  Noble. 

215.  Marriage  of  St.  Catherine. 

216.  Madonna  Adoring  Child. 

219.  Portrait  of  Man. 

Edinburgh.  531.  Holy  Family. 

Florence.  Pitti,  52.  Holy  Family  with  St.  Catherine  and 
the  Magdalen.  254.  Holy  Family.  269. 
Presentation  in  Temple.  L. 

Glasgow.  484.  Holy  Family  with  St.  Dorothy. 

Hampton  Court.  173.  Diana  and  Actaeon. 

Langton,  N.  B.  (near  Duns).  Mrs.  Baillie-Hamilton,  Ador- 
ation of  Magi. 

Lille.  80.  St.  Peter  Reading. 

Linlathen,  N.  B.  Col.  Erskine,  Madonna  and  St.  Catherine. 

London.  Lord  Battersea,  Madonna  and  infant  John. 

Mr.  R.  Benson,  Madonna  with  St.  Catherine 
and  the  Archangel  Michael. 

Lord  Brownlow,  Young  Woman  represented  as 
Faith. 

Dorchester  House,  Rest  in  Flight. 

Sir  William  Farrer,  Three  Ages.  Holy  Family 
and  two  Donors.  Adoration  of  Shepherds. 

Mr.  Mond,  Madonna  with  St.  Catherine  and 
Holy  Children. 


Bacchus  and  Ariadne.  By  Titian. 

Picture  in  the  National  Gallery , London. 


The  Venetian  Painters 


117 


London.  (Con.)  Mr.  Muir  Mackenzie,  Madonna. 

Duke  of  Westminster,  Christ  and  the  Adulteress. 
Lord  Yarborough,  Santa  Conversazione.  Christ 
at  Emaus. 

Mells  Park,  Frome.  Mrs.  J.  Horner,  Madonna  with  St. 
Jerome. 

Modena.  1 1 5.  Madonna  and  infant  John. 

Munich.  1109.  Madonna,  Bishop,  and  Donor. 

1 1 1 5.  Portrait  of  Man  with  Staff  (?). 

Naples.  Scuoala  Veneta,  2,  4.  Allegories  (tondi). 

New  Battle,  N.  B.  Marquis  of  Lothian,  Madonna  with 
sleeping  Child. 

Oxford.  Christ  Church,  Diana  and  Actaeon. 

Paris.  669.  Head  of  Young  Woman. 

1580.  Holy  Family. 

1596.  Holy  Family  and  Saints. 

Decapitation  of  Baptist. 

Mme.  Andre,  Morosini  Family  adoring  Virgin.  L. 
Richmond.  Sir  Francis  Cook,  Madonna  and  infant  John. 
Rome.  Borghese,  91.  Judith.  146.  Madonna,  Baptist, 
and  an  Angel. 

Capitol,  20.  Madonna  and  infant  John. 

Doria,  127.  Nativity.  418.  Madonna  with  St. 

Catherine  and  the  Baptist. 

Rospigliosi,  10.  Adoration  of  Shepherds. 

Don  Marcello  Massarenti,  Santa  Conversa- 
zione. 


Stuttgart. 

Venice. 


Verona. 

Vienna. 


34.  Madonna  with  SS.  Catherine  and  Jerome. 
Quirini-Stampalia,  Sala  II,  144.  Marriage  of  St. 
Catherine. 

Salute,  Sacristy,  Holy  Family.  Madonna. 

52.  Madonna  and  infant  John. 

135.  St.  Roch. 

183.  Adoration  of  Magi. 


ii8 


Works  of 


Vienna.  {Con.)  384.  Holy  Family. 

394.  Christ  and  the  Magdalen. 

Academy,  463.  Finding  of  Moses. 

Harrach  Collection,  305.  Two  Putti  em- 
bracing. 

G.  A.  PORDENONE. 

1483-1540.  Probably  pupil  of  Alvise  Vivarini.  Developed  under  the 
influence  of  Giorgione  and  Titian. 

Badger  Hall  (Shropshire).  Mr.  F.  Capel-Cure,  Bust  or 
Franciscan  Cardinal. 

Casarsa.  Old  Church,  Frescoes  : Story  of  True  Cross, 
1525. 

Colalto  (near  Susigana).  S.  Salvatore,  Frescoes.  E. 

Cremona.  Duomo,  Frescoes  : Christ  before  Pilate  ; Way  to 
Golgotha  ; Nailing  to  Cross  ; Crucifixion.  All 
1521.  Altar-piece:  Madonna  enthroned  with 
S.  Dominic,  Paul,  and  Donor,  1522.  Fresco: 
Deposition,  1522. 

Milan.  Dr.  G.  Frizzoni,  Dead  Christ  supported  by  Two 
Angels.  E. 

Motta  di  Livenza.  S.  Maria  dei  Miracoli,  Fresceos  : An- 
nunciation. 

Murano.  S.  Maria  degli  Angeli,  Annunciation.  L. 

Piacenza.  Madonna  di  Campagna,  Frescoes  : Birth  of  Vir- 
gin ; Adoration  of  Magi  ; Disputation  of  St. 
Catherine.  Altar-piece  : Marriage  of  St.  Cath- 
erine. All  1 529-1 531. 

Pordenone.  Duomo,  Madonna  covering  with  mantle  six 
Donors,  SS.  Joseph  and  Christopher  to  R.  and 
L.,  1515.  Fresco  : SS.  Erasmus  and  Roch, 
1525.  St.  Mark  enthroned,  SS.  Sebastian, 
Jerome,  John,  and  Alexander,  1535. 


The  Venetian  Painters 


n9 


Pordenone.  (Con.)  Municipio,  St.  Gothard  between  SS.  Roch 
and  Sebastian,  1525. 

San  Daniele  (near  Udine).  Duomo,  Trinity,  1535. 

Spilimbergo.  Duomo,  Assumption  of  Virgin.  Conversion 
of  St.  Paul.  Simon  Magus,  1524. 

Susigana.  Church,  Madonna  and  four  Saints.  E. 

Torre  (near  Pordenone).  Church,  Madonna  and  four  Saints. 

Treviso.  Duomo,  Adoration  of  Magi,  and  other  frescoes, 
1520. 

Venice.  Academy,  305.  Portrait  of  Lady.  298.  Head  of 
Man  Praying.  323.  Madonna  of  Carmel,  Saints, 
and  the  Ottobon  Family.  316.  St.  Lorenzo 
Giustiniani  and  three  other  Saints. 

S.  Giovanni  Elemosinario,  SS.  Roch,  Sebastian, 
and  Catherine. 

S.  Rocco,  SS.  Martin  and  Christopher,  1528. 

S.  Stephano,  Ruined  Frescoes  in  Cloister. 

ANDREA  PREVITALI. 

Active  1502-1525.  Pupil  of  Giovanni  Bellini  ; influenced  by  Lotto. 

Bergamo.  Carrara,  25.  Pentecost.  68.  Marriage  of  St. 

Catherine.  97.  Altar-piece  in  8 parts.  182. 
Madonna,  1514.  183.  Madonna,  two  Saints, 

and  Portraits  of  Cassoti  and  his  Wife.  184. 
Madonna. 

Lochis,  17 1.  Madonna.  E.  176.  Madonna  with 
SS.  Dominic  and  Sebastian,  1506. 

Sig.  Baglioni,  Madonna  and  two  Saints. 

Count  Moroni,  Madonna,  Saint,  and  Donor. 
Family  Group. 

S.  Alesandro  in  Croce,  Crucifixion,  1524. 

S.  Andrea,  Entombment. 

Duomo,  Altar-piece,  and  three  Predelle  in  Sac- 
risty, 1524. 


120 


Works  of 


Bergamo.  (Con).  S.  Maria  Maggiore,  Fresco  over  S.  Door. 

S.  Spirito,  St.  John  the  Baptist  and  four  other 
Saints,  1515.  Madonna  between  four  female 
Saints,  1525. 

Berlin.  39.  Madonna  and  four  Saints. 

45.  Marriage  of  St.  Catherine. 

Buda-Pesth.  77.  Madonna. 

Ceneda.  S.  Maria  di  Meschio,  Annunciation.  E. 
Dresden.  60.  Madonna  and  Saints,  1510. 

Hamburg.  Consul  Weber,  ioi.  Holy  Family. 

Keir,  N.  B.  Mr.  Arch.  Stirling,  Woman  playing,  and  two 
Men. 


London. 


Milan. 


Oldenburg. 

Oxford. 


695.  Madonna  and  Donor.  E. 

1173.  Allegorical  Subject. 

Sir  H.  Howarth,  Rest  in  Flight. 

Brera,  304.  Christ  in  Garden,  1512. 

Coronation  (lunette). 

Bonomi-Cereda,  Madonna  and  two  Saints,  1522. 
Dr.  Gust  Frizzoni,  Madonna  and  Donor,  1506. 
80.  Baptist  in  Wilderness,  1521. 

Christ  Church  Library,  Madonna. 


Padua. 

Venice. 


Verona. 

Vienna. 


Gal.  Cavalli,  1423.  Madonna  and  Donor,  1502. 
Palazzo  Ducale,  Chapel,  Christ  in  Limbo. 

Crossing  of  Red  Sea. 

Lady  Layard,  Head  of  Christ. 

S.  Giobbe,  Marriage  of  St.  Catherine. 

Redentore,  Nativity.  Crucifixion. 

1 5 1 . Stoning  of  Stephen. 

173.  Immaculate  Conception. 

14.  Madonna.  E.  61.  Portrait  of  Man. 


The  Venetian  Painters 


I 2 I 


ROCCO  MARCONI. 

Active  in  the  earlier  decades  of  the  XVI  century.  Pupil  of  Giovanni  Bellini  and 

follower  of  Palma. 

Berlin.  3.  Christ  Blessing  (?).  E. 

196.  Christ  and  the  Adulteress. 

Buda-Pesth.  100.  Madonna,  Saints  and  Donor. 

Chantilly.  Madonna  and  Saints  (ascribed  to  Palma). 
Dresden.  64.  Madonna  and  Saints. 

Diisseldorf.  8.  Triptych.  E. 

Leipzig.  255.  Madonna  and  four  Saints  (?). 

London.  1252.  Death  of  Peter  Martyr  (?). 

Lord  Ashburnham,  Small  Landscape  (?). 

Mr.  J.  P.  Carrington,  Bust  of  Man  (?).  E. 

Mr.  C.  Butler,  Christ  in  Landscape  Blessing. 
Lord  Northbrook,  Madonna.  E. 

Sir  Michael  Shaw-Stewart,  Madonna. 

Munich.  1085.  St.  Nicholas  of  Bari,  St.  Andrew,  and  a 
Bishop. 

Miinster  (in  W.).  65.  Madonna  and  Saints. 

New  Battle,  N.  B.  Marquis  of  Lothian,  Madonna. 

Padua.  65.  Madonna  and  Saints  (?). 

Richmond.  Sir  Francis  Cook,  Madonna. 

Christ  and  the  Adulteress.  Christ  at  Emaus. 
Rome.  Corsini,  612.  Christ  Blessing. 

Strassburg.  8.  Madonna.  E. 

Stuttgart.  75.  Last  Supper.  L. 

Tours.  598.  Madonna  and  Saints. 

Venice.  Academy.  166.  Deposition.  317.  Christ  be- 
tween two  Saints.  334.  Christ  and  the 
Adulteress. 

Palazzo  Reale,  Christ  and  the  Adulteress. 
Giovanelli,  Christ  and  the  Adulteress. 


122 


Works  of 


Venice.  {Con.)  S.  Cassiano,  The  Baptist  and  four  Saints. 
S.  Giovanni  e Paolo,  Christ  and  Saints. 


Vienna. 

Czernin  Gallery,  30.  Madonna. 
N.  RONDINELLI. 

Active  about  1480-1500.  Pupil  of  Giovanni  Bellini,  whose  name  he  often 


signs  ; slightly  influenced  by  Palmezzano. 

Berlin. 

11.  Madonna. 

Herr  Wesendonck,  6.  Madonna. 

Fermo. 

Florence. 

Carmine,  Madonna  and  Saints. 

Uffizi,  354.  Portrait  of  Man.  384.  Madonna 
and  two  Saints. 

Forli. 

90.  Madonna. 
Duomo,  St.  Sebastian. 

Sacristy,  Visitation. 

Frankfort  a/M.  35.  Madonna  with  St.  Anne  and  the  Bap- 


Innsbruck. 

Liverpool. 

London. 

tist. 

561.  Dead  Christ  upheld  by  two  Angels. 

33.  Portrait  of  Man. 

Lady  Ashburton,  Madonna. 

Dorchester  House,  Bust  of  Boy. 

Sir  B.  Samuelson,  Madonna  with  SS.  Catherine 
and  Bartholomew. 

Milan. 

Brera,  176.  Madonna,  four  Saints,  and  three 
Angels.  177.  St.  John  appearing  to  Galla 
Placida. 

Museo  Civico,  97.  Madonna  SS.  Francis  and 

Peter. 

Oldenburg.  77.  Madonna. 


Padua. 

Paris. 

Ravenna. 

Sala  Emo,  Portrait  of  Young  Man. 

1 1 58.  Madonna  between  SS.  Peter  and  Sebastian. 
13.  Madonna  and  four  Saints.  Madonna  be- 
tween SS.  Catherine  and  John. 

The  Venetian  Painters 


123 


Ravenna.  (Con.)  S.  Domenico,  four  large  pictures,  probably 
Organ  Shutters  ; Madonna,  Gabriel,  St.  Peter 


Rome. 

Martyr,  S.  Dominic. 

Barberini,  36,  54.  Two  Madonnas. 

Capitol,  Portrait  of  Man. 

Doria.  374.  Madonna.  E.  375.  Madonna. 
376.  Madonna. 

Rossie  Priory,  N.  B.  Lord  Kinnaird.  Old  Man  and  Young 
Man. 


Stuttgart. 

Venice. 

22.  Madonna. 

Museo  Correr,  Sala  VII,  19.  Madonna.  Sala 
IX,  19.  Madonna,  two  Saints,  and  two 
Donors. 

Giovanelli,  Two  Madonnas. 

Lady  Layard,  Madonna. 

S.  Fantino,  Holy  Family. 

GIROLAMO  SAVOLDO. 

Circa  1480-1548.  Possibly  pupil  of  Francesco  Bonsignori ; influenced  by  Bel- 


Berlin. 

lini,  Giorgione,  Palma,  and  Lotto. 

307.  Mourning  over  Dead  Christ. 
307a.  Magdalen. 

Brescia. 

Fermo. 

Florence. 

Martinengo,  Sala  C,  Adoration  of  Shepherds. 
Casa  Bernetti,  St.  Jerome  in  Landscape.  E. 
Uffizi,  645.  Transfiguration. 

Mr.  Loeser,  St.  Jerome. 

Gosford  House,  N.  B.  Lord  Wemys,  A Shepherd.  Portrait 
of  a Man  holding  a paper  with  both  hands. 
Hampton  Court.  138.  “ Gaston  de  Foix.”  139.  Nativity 


London. 

and  Donors,  1527. 

1031.  Magdalen. 

Mr.  Doetsch,  Bust  of  Man. 
Mr.  Mond,  Portrait  of  Man. 

124 


Works  of 


Milan. 

Brera,  234.  Madonna  in  Glory  and  four  Saints. 
Ambrosiana,  52.  Transfiguration. 

Signor  Crespi,  Bust  of  an  Old  Man. 

Munich.  Lotzbeck  Collection,  98.  Rest  in  Flight. 

New  York,  U.  S.  A.  Metropolitan  Museum,  Marquand  Col- 
lection, 272.  Portrait  of  Man. 


Paris. 

Rome. 

1518.  “ Gaston  de  Foix.” 

Villa  Borghese,  139.  Head  of  Youth. 

Capitol,  14.  Portrait  of  Woman  seated. 
Seven  Oaks.  Lord  Amherst,  Flute-player. 


Treviso. 

Turin. 

Urbino. 

Venice. 

San  Niccolo,  Altar-piece,  1521. 

1 18.  Nativity.  119.  Adoration  of  Shepherds. 
Casa  Albani,  Rest  in  Flight. 

328.  The  Hermits  Antony  and  Paul. 

S.  Giobbe,  Adoration  of  Shepherds. 

Lady  Layard,  St.  Jerome. 

Verona. 

Santa  Maria  in  Organo,  Madonna  in  Glory  and 
Saints,  1533. 

Vienna. 

213.  An  Apostle.  208.  Entombment. 
Lichtenstein,  229.  Portrait  of  Young  Warrior. 
Dead  Christ. 

ANDREA  MELDOLLA  called  SCHIAVONE. 

1522  (?)-  1582.  Pupil  of  Titian  ; influenced  by  Parmigianino. 

Amiens.  241.  Calisto. 

Badger  Hall  (Shropshire).  Mr.  F.  Capel-Cure,  Temperance. 
Bergamo.  Carrara,  III.  A Lady  dressed  as  a Queen. 


Berlin. 

i70A.  Parable  of  the  Faithless  Steward. 
170®.  Parable  of  the  Lord’s  Vineyard. 
i82a.  Mountain  Landscape. 

1 82®  Forest  Scene. 

Herr  Kaufmann,  Madonna. 
Buda-Pesth.  112.  Head  of  Young  Woman  (?). 


Europa.  By  Titian. 

Picture  in  the  Collection  of  Mrs.  J.  L.  Gardner , Boston , U.  S.  A. 


. 


. 


The  Venetian  Painters  125 

Chatsworth.  Duke  of  Devonshire,  Preaching  of  Baptist. 


Dresden. 

Marriage  of  Cupid  and  Psyche. 

274.  Pieta. 

275.  Holy  Family  and  Infant  John. 

Florence. 

Pitti,  152.  Death  of  Abel.  170.  Adam  and 
Eve. 

Uffizi,  588.  Adoration  of  Shepherds. 

Gosford  House,  N.  B.  Lord  Wemys,  Preparation  for  Com- 
bat. The  Defence.  Shepherd  and  Cattle. 
Infant  Jupiter  and  Nymphs. 

Hamburg.  Consul  Weber,  107.  Triumph. 

Hampton  Court.  88.  Tobias  and  the  Angel. 

175.  Judgment  of  Midas. 


London. 

289.  Christ  before  Pilate. 

Lord  Ashburnham,  A Cassone. 

Mr.  R.  Benson,  Landscape  with  Ruins. 
Bridgewater  House,  Christ  before  Pilate.  Last 
Supper.  Marriage  of  St.  Catherine. 

Lord  Brownlow,  St.  Catherine. 

Mr.  C.  Butler,  Jason  slaying  Bulls  of  Aetos. 

Sir  William  Farrer,  St.  Jerome. 

Sir  H.  Howarth,  Dead  Christ. 

Mr.  James  Knowles,  Jupiter  and  Nymph. 

Marseilles.  Judith. 

Milan.  Museo  Civico,  124-126.  Story  of  Esther. 


Munich. 

Naples. 

Paris. 

1089.  Parnassus. 

Sala  Veneziana,  33.  Christ  before  Pilate. 
1324.  The  Baptist. 

1582.  Ecce  Homo. 

Parma. 

Venice. 

368.  Deucalion  and  Pyrrha. 

Academy,  271.  Christ  before  Pilate.  324.  Cir- 
cumcision. 333.  337.  Allegories. 
Quirini-Stampalia,  Sala  V,  89.  Madonna  and 
St.  Catherine. 

126 


Works  of 


Venice.  {Con.)  Corridor,  Fancy  Portrait  of  Lady. 

Sala  XIV,  224.  Conversion  of  St.  Paul. 

Palazzo  Reale,  Three  ceiling  paintings.  Two 
Philosophers. 

S.  M.  Del  Carmine,  Parapet  of  Organ  Loft, 
Six  pictures. 

S.  Giacomo  dell'  Orio.  Christ  at  Emaus. 


Vienna. 


146.  Christ  before  Caiphas. 

157.  Portrait  of  Man. 

148.  Curius  Dentatus. 

149.  Madonna,  infant  John,  and  St.  Catherine. 

158.  Birth  of  Jupiter. 

159.  Belshazzar’s  Feast. 

160.  Jupiter  nursed  by  Amalthea. 

168.  Diana  and  Actseon. 

175.  Queen  of  Sheba. 

184.  David  and  the  Ark. 

185.  Cupid  and  Psyche. 

190.  Scipio. 

194.  Allegory  of  Music. 

195.  Scene  from  Apocalypse. 

202.  Apollo  and  Daphne. 

203.  Death  of  Samson. 

204.  Apollo  and  Cupid. 

261.  Adoration  of  Shepherds. 

331.  Mucius  Scsevola. 


G.  B.  TIEPOLO. 


1696-1770.  Influenced  by  G.  B.  Piazzetta,  formed  on  Paolo  Veronese. 

Amiens.  233,  234,  233,  236.  Sketches. 

Badger  Hall.  (Shropshire).  Mr.  F.  Capel-Cure,  Small 
Finding  of  Moses.  Ceilings  : Bride  and 

Groom  ; Allegory. 

Bergamo.  Carrara,  281,  282.  Sketches. 


The  Venetian  Painters 


127 


Bergamo.  {Con.)  Lochis,  74.  Sketch. 

Signor  Baglioni,  Two  legendary  subjects. 


Berlin. 

Signor  Piccinelli,  Christ  in  the  Garden.  Leg- 
endary subject. 

Duomo,  Martyrdom  of  St.  John  the  Baptist. 
Colleoni  Chapel,  Lunettes  : Story  of  the  Bishop. 
454.  After  the  Bath.  459.  Reception.  459^ 
St.  Dominic  and  the  Rosary.  459*-  Martyr- 
dom of  St.  Agatha. 

Brighton. 

Brussels. 

Mr.  Constantine  Ionides,  Apotheosis  ot  a Pope. 
M.  Leon  Somzee,  Sacrifice  of  Polyxena. 

Buda-Pesth.  641.  God  the  Father. 

649.  Warrior  Saint  on  horseback. 

651.  Madonna  and  Saints. 

Caen.  56.  Sketch  for  Ecce  Homo. 

Edinburgh.  338.  Finding  of  Moses. 

355.  Antony  and  Cleopatra. 

Frankfort  a/M.  50.  Court  Scene. 

Hamburg.  Consul  Weber,  14 1.  Christ  bearing  Cross.  142. 


London. 

Crucifixion. 

1192,  1193.  Sketches.  1333.  Deposition. 
Lord  Battersea,  Sketch  of  Madonna,  Saints,  and 
Angels. 

The  Misses  Cohen,  Sketch  of  Esther  and  Ahasue- 

Mayence. 

Milan. 

rus. 

Mrs.  Martin  Colnaghi,  Assumption. 

Sir  W.  M.  Conway,  Allegory  of  the  Overthrow 
of  Paganism. 

Dr.  Richter,  Two  Versions  of  Christ  and  Adul- 
teress. Two  legendary  subjects. 

124.  An  Encampment. 

Palazzo  Chierici,  Chariot  of  the  Sun,  ceiling 
fresco. 

Natural  History  Museum,  Frescoes. 

128 


Works  of 


Milan.  {Con.)  Poldi-Pezzoli,  Pinacoteca,  74.  A Sketch. 
90.  Madonna  and  Saints. 

Signor  Crespi,  St.  Anne  presenting  Virgin  to 
God,  1759. 

Munich.  1271.  Adoration  01  Magi.  1272,  1273.  His- 
torical subjects. 

New  York,  U.  S.  A.  Metropolitan  Museum,  18.  Sacrifice 
of  Isaac.  28.  Triumph  of  Ferdinand  III. 
Crowning  with  Thorns. 

Padua.  Sala  Romanino,  654.  St.  Patrick. 

Santo,  Martyrdom  of  St.  Agatha. 

Paris.  1 547.  Christ  at  Emaus.  1 549.  Standard  painted 
on  both  sides. 

Mme.  Andre,  Reception  of  Henry  III  (fresco). 

Three  Ceiling  frescoes. 

M.  Leopold  Goldschmidt,  Crucifixion. 

Parma.  216.  St.  Antony  Abbot. 

Piove  (near  Padua).  S.  Niccolo,  Franciscan  Saint  in  Ec- 
stasy. 

Richmond.  Sir  F.  Cook.  Esther  and  Ahasueras. 

Rossie  Priory,  N.  B.  Lord  Kinnaird,  Assumption. 
Strassburg.  St.  Roch. 

Turin.  293.  St.  Antony  Abbot. 

Udine.  31.  Chapter  of  Maltese  Order. 

S.  Maria  della  Pieta,  Ceiling. 

Venice.  484.  S.  Joseph,  the  Child,  and  four  Saints.  462. 
Finding  of  True  Cross. 

Palazzo  Ducale,  Sala  di  Quattro  Porte,  Nep- 
tune and  Venice. 

Seminario,  Refectory,  Chirst  at  Emaus. 
Quirini-Stampalia,  Sala  X,  219.  Portrait  of  Pro- 
curator. 

Palazzo  Labia,  Frescoes  : Antony  and  Cleopatra. 
Palazzo  Rezzonico,  Two  Ceilings. 


The  Venetian  Painters 


I29 


Venice.  (Con.)  S.  Alvise,  Christ  at  Column.  Way  to  Golgotha. 
S.  Apostoli,  Communion  of  S.  Lucy. 


Verona. 

Vicenza. 

S.  Fava,  The  Virgin  and  her  Parents. 

Frari,  Stations  of  the  Cross. 

Gesuati,  Ceiling.  Altar-piece ; Madonna  and 
three  female  Saints. 

S.  Giovanni  e Paolo,  Ceiling  of  R.  Chapel. 

S.  Maria  della  Pieta,  Ceiling. 

Scalzi,  Ceiling. 

Scuola  del  Carmine,  Ceiling  paintings. 

70.  Four  Olivetan  Saints. 

Entrance  Hall,  i.  Immaculate  Conception. 

Villa  Valmarana,  Frescoes  in  Villa  and  Casino, 
subjects  from  Homer,  Virgil,  Ariosto,  and 
Tasso,  also  Costume  Pieces,  and  Oriental 
Scenes. 

Vienna.  Academy,  484.  Sketch. 

Wiirzburg.  Archbishop’s  Palace,  Frescoes  : Grand  Staircase, 
1753.  Hall  of  Emperors,  1751. 

Chapel,  Two  Altar-pieces. 

JACOPO  TINTORETTO. 

1 518-1 594.  May  have  been  a pupil  of  Bonifazio  Veronese  ; influenced  by  Titian, 


Augsburg. 

Berlin. 

Parmigianino,  and  Michelangelo. 

265.  Christ  in  the  House  of  Martha. 

298.  Portrait  of  Procurator. 

299.  The  same. 

300.  Madonna  with  SS.  Mark  and  Luke. 
310.  Luna,  and  the  Hours. 

316.  Procurator  before  St.  Mark. 

Herr  Kaufmann,  Bust  of  Old  Man. 

Bologna. 

145.  Visitation.  Corridor  IV,  Portrait  of  Man. 

Boston,  U.  S.  A.  Mrs.  J.  L.  Gardner,  Portrait  of  Senator. 


130 

Works  of 

Brescia. 

Tosio,  Sala  XIII,  14.  An  Old  Man. 
S.  Alfra,  Transfiguration. 

Buda-Pesth.  114.  Head  of  Old  Man. 

Caen.  12.  Deposition. 

Cambridge,  U.  S.  A.  Prof.  C.  E.  Norton,  Head  of  Old  Man. 
Portrait  of  Senator  of  83.  L. 

Canford,  Wimborne  (Dorset).  Lord  Wimborne,  Bust  of  a 
Young  Man. 

Carder  House  (near  Glasgow).  Mr.  Arch.  Stirling,  Portrait 
of  Senator. 


Cologne. 

Dresden. 

817.  Ovid  and  Corinna. 

174.  Lady  dressed  in  Mourning.  269.  The 
Rescue.  270.  Two  Gentlemen. 

Escurial. 

Florence. 

Christ  washing  the  feet  of  the  Disciples. 

Pitti,  65,  70.  Portraits  of  Men.  83.  Portrait  of 
Luigi  Cornaro.  13 1.  Portrait  of  Vincenzo 
Zeno. 

Uffizi,  378.  Portrait  of  himself.  577.  Bust  of 
Young  Man.  601.  Admiral  Venier.  615. 
Portrait  of  Old  Man.  638.  Portrait  of  Jacopo 
Sansovino.  649.  Portrait  of  Man. 

Hamburg.  Consul  Weber,  117.  Warrior. 

Hampton  Court.  69.  Esther  before  Ahasuerus.  77.  Nine 


Leipzig. 

Lille. 

Muses.  78.  Portrait  of  Dominican.  91. 
Knight  of  Malta.  120.  Portrait  of  a Senator. 

239.  Resurrection. 

652.  Portrait  of  a Senator. 

London. 

16.  St.  George  and  Dragon.  1130.  Christ 
washing  feet  of  Disciples.  1313.  Origin  of 
the  Milky  Way. 

Bridgewater  House.  Portrait  of  Man. 

Lord  Brownlow,  Busts  of  two  old  Men. 

Mr.  R.  Crawshay,  Adam  and  Eve. 

The  Venetian  Painters 


131 


London.  {Con.)  Mr.  Butler,  Moses  striking  Rock.  Portrait  of 
Senator. 

Dorchester  House,  Portrait  of  Man,  1 548. 

Portrait  of  Man  by  Window. 

Sir  Wm.  Farrer,  The  Resurrection. 

Mr.  Arthur  James,  Portrait  of  Andrea  Barbadigo. 
Portrait  of  Man. 

Mr.  Mond,  Galleys  at  Sea.  Portrait  of  Giovanni 
Gritti. 

Duke  of  Northumberland,  Portrait  of  a Man. 
Lord  Rosebery,  Portrait  of  Admiral  Venier.  E. 
Mr.  Salting,  Portrait  of  Ottavio  di  Stra,  1567. 
Liibeck.  88.  Raising  of  Lazarus,  1576. 

Lucca.  Sala  I,  45.  Portrait  of  Man. 

Lyons.  36.  Danae  (in  part). 

Madrid.  410.  Battle  on  Land  and  Sea. 

422.  Joseph  and  Potiphar’s  Wife. 

423.  Solomon  and  the  Queen  of  Sheba. 

424.  Susanna  and  the  Elders. 

425.  Finding  of  Moses. 

426.  Esther  before  Ahasuerus. 

427.  Judith  and  Holofernes. 

Milan.  Brera,  217.  Pieta.  230.  St.  Helen,  three  other 
Saints,  and  two  Donors.  234  bis.  Finding 
of  Body  of  St.  Mark.  E. 

Museo  Civico,  86.  Bust  of  Procurator. 

Newport,  U.S.A.  Mr.  T.  H.  Davis,  Bust  of  Man. 
Panshanger.  Lord  Cowper,  Portrait  of  Man. 

Paris.  1464.  Susanna  and  the  Elders.  1465.  Paradise. 
1467.  Portrait  of  Old  Man. 

Richmond.  Sir  F.  Cook,  St.  John  the  Baptist.  Portrait  01 
Senator. 

Rome.  Capitol,  248.  The  Baptism.  249.  Ecce  Homo. 
250.  The  Flagellation. 


132 


Works  of 


Rome.  (Con.)  Colonna,  4.  Three  Women  and  a Man  adoring 
the  Holy  Spirit.  1 13.  Old  Man  playing 
Spinnet.  94,  95.  Portraits  of  Men. 

Doria,  265.  Portrait  of  Man.  E. 

Turin.  162.  The  Trinity. 

Venice.  Academy,  225.  S.  Giustina  and  three  Donors, 
1580. 

210.  Madonna,  three  Saints,  and  three  Donors, 
1566. 

242.  Portrait  of  Carlo  Morosini. 

Portrait  of  a Senator. 

217.  Deposition. 

241.  Senator  in  Prayer. 

245.  Portrait  of  Jacopo  Soranzo,  1564. 

234.  Andrea  Capello.  E. 

Sala  IV,  Ceiling  : Prodigal  Son,  Four  Vir- 
tues. 

41.  Death  of  Abel. 

244.  Two  Senators. 

42.  Miracle  of  St.  Mark,  1 548. 

43.  Adam  and  Eve. 

240.  Two  Senators. 

227.  Resurrected  Christ  blessing  three  Sena- 
tors. 

239.  Madonna,  and  three  portraits. 

213.  Crucifixion. 

215.  Resurrection. 

Palazzo  Ducale,  Collegio,  Doge  Mocenigo 
recommended  to  Christ  by  St.  Mark. 
Figures  in  grisaille  around  the  Clock. 

Doge  Daponte  before  the  Virgin. 

Marriage  of  St.  Catherine  and  Doge  Dona. 
Doge  Gritti  before  the  Virgin. 

Anti-Collegio,  Mercury  and  three  Graces. 
Vulcan’s  Forge.  Bacchus  and  Ariadne.  Min- 
erva expelling  Mars  : All,  1578. 


The  Rich  Mans  Feast.  Bonifazio  Veronese. 

Picture  in  the  Academy , Venice. 


. __  ;•  - . ..  . 


. 


.:A  t ■Ara»cV 


1 


The  Venetian  Painters 


133 


Venice.  (Con.)  Ante-Room  of  Chapel,  SS.  Margaret,  George, 
and  Louis. 

SS.  Andrew  and  Jerome. 

Senato,  St.  Mark  presenting  Doge  Loredan 
to  the  Virgin  in  presence  of  two  other  Saints. 
Sala  Quattro  Porte,  Ceiling  (in  part). 
Ingresso,  Lorenzo  Amelio,  1570.  Alessandro 
Bono.  Vincenzo  Morosini,  1580.  Nicolo 
Priuli.  Ceiling. 

Passage  to  Council  of  Ten,  Andrea  Del- 
phino,  1 573.  A.  Cicogna. 

Federigo  Contarini,  1570. 

Nobles  Illumined  by  the  Holy  Spirit. 

Sala  del  Gran  Consiglio,  Paradise,  1 590. 

Sala  dello  Scrutino,  Battle  of  Zara. 

Palazzo  Reale,  Libreria,  Transportation  of  Body 
of  St.  Mark. 

St.  Mark  rescues  a shipwrecked  Saracen. 
Diogenes,  Archimedes,  and  two  other  philo- 
sophers on  separate  canvases  : All  E. 
Another  Room,  St.  Roch. 

Prince  Giovanelli,  Battle  Piece.  Portrait  of  Sena- 
tor. Portrait  of  General.  Portrait  of  Warrior. 
S.  Cassiano,  Crucifixion.  Christ  in  Limbo. 
Resurrection. 

Gesuiti,  Assumption  of  Virgin.  Circumcision. 

S.  Giorgio  Maggiore.  Last  Supper.  Gathering 
of  Mannas.  Entombment. 

S.  Giuseppe  di  Gastello,  Michael  overcoming 
Lucifer. 

S.  Maria  Mater  Domini,  Finding  of  True  Cross. 
S.  Maria  dell’  Orto,  Last  Judgment.  E.  Martyr- 
dom of  Paul.  The  Tablets  of  the  Law  and  the 
Golden  Calf.  E.  Martyrdom  of  St.  Agnes. 
Presentation  of  Virgin.  E. 

S.  Marziale,  Glory  of  S.  Marziale. 


134 


Works  of 


Venice.  {Con.)  S.  Paolo,  Last  Supper.  Assumption  of  Virgin. 

S.  Rocco,  Annunciation.  Pool  of  Bethesda.  St. 
Roch  and  the  Beasts  of  the  Field.  St.  Roch 
healing  the  Sick.  St.  Roch  in  Campo  d’Ar- 
mata.  St.  Roch  consoled  by  an  Angel.  St. 
Roch  before  the  Pope. 

Scuola  di  S.  Rocco,  Ground  Floor,  nearly  all 
the  paintings  on  walls. 

Staircase,  Visitation. 

Upper  Floor,  Hall,  All  the  paintings  on  walls 
and  ceiling.  Portrait  of  himself,  1573. 

Inner  Room,  Crucifixion,  1565.  Christ  before 
Pilate.  Ecce  Homo.  Way  to  Golgotha.  Ceil- 
ing, 1560.  Altogether,  sixty-two  paintings. 
Salute,  Marriage  of  Cana,  1561. 

S.  Silvestro,  Baptism. 

S.  Stefano.  Last  Supper.  Washing  of  Feet. 
Agony  in  Garden. 

S.  Trovaso,  Temptation  of  St.  Anthony. 

S.  Zaccaria,  Birth  of  Virgin. 

Vicenza.  Entrance  Hall.  42.  St.  Augustine  healing  the 
Plague-stricken. 

Vienna.  417.  St.  Jerome.  E. 

239.  Susanna  and  the  Elders.  E. 

236.  Sebastian  Venier. 

244.  An  Officer  in  Armour. 

235.  Old  Man  and  Boy. 

242,  245.  Portraits  of  Men. 

250.  Portrait  of  Man,  1553. 

482.  Portrait  of  Old  Man. 

255,  258,  486.  Portraits  of  Men. 

249.  Portrait  of  Lady. 

Academy,  13.  Portrait  of  Ales.  Contarini.  34. 
Portrait  of  Doge  Priuli. 

Woburn  Abbey.  36.  Portrait  of  Man.  L. 


The  Venetian  Painters 


135 


TITIAN. 

!477— 1 576.  Pupil  of  the  Bellini ; formed  by  Giorgione. 


Ancona. 

8.  Crucifixion.  L. 

S.  Domenico,  Madonna  with  SS.  Francis,  Blaise, 
and  Donor,  1520. 

Antwerp. 

357.  Alexander  VI  presenting  Baffo  to  St.  Peter. 
E. 

Ascoli. 

Berlin. 

St.  Francis  receiving  the  Stigmata.  L. 

i6o\  Infant  Daughter  of  Roberto  Strozzi,  1542. 

163.  Portrait  of  himself.  L. 

1 66.  His  own  Daughter  Lavinia. 

Boston,  U.  S.  A.  Mrs.  J.  L.  Gardner,  The  Rape  of  Europa. 


Brescia. 

1562. 

Maria  d’Austria  and  her  little  Girl.  L. 

S.  Nazaro  e Celso,  Altar-piece  in  five  parts, 
1 522. 

Cobham  Hall.  Lord  Darnley,  Portrait  of  Ariosto.  E. 


Dresden. 

168.  Madonna  with  four  Saints.  E. 

169.  Tribute  Money.  E. 

170.  Lavinia  as  Bride,  1555. 

1 7 1 . Lavinia  as  Matron.  L. 

172.  Portrait  of  Man,  1561. 

173.  A Lady  with  a Vase.  L. 

175.  Madonna  with  a Family  as  Donors  (in  part 
only).  L. 

176.  Lady  in  Red  Dress. 

Florence. 

Pitti,  18.  “La  Bella,”  Eleanora  Gonzaga,  Duch- 
ess of  Urbino. 

54.  Pietro  Aretino,  1545. 

67.  Magdalen. 

92.  Portrait  of  Young  Man. 

185.  The  Concert.  E, 

200.  Philip  11. 

201.  Ippolito  de’  Medici,  1533. 

136 


Works  of 


Florence.  (Con.)  215.  Full-length  Portrait  of  Man. 

228.  Head  of  Christ. 

495.  “ Tommaso  Mosti.” 

Uffizi,  599.  Eleanora  Gonzaga,  Duchess  of 
Urbino,  1537. 

605.  Fr.  Maria  della  Rovere,  Duke  of  Urbino, 
1 537- 

626.  Flora.  E. 

633.  Madonna  with  St.  Antony  Abbot.  E. 
1108.  Venus — the  head  a portrait  of  Lavinia.  L. 

1 1 16.  Portrait  of  Beccadelli,  1 552. 

1 1 17.  Venus — the  head  a portrait  of  Eleanora 
Gonzaga. 

Genoa.  Balbi-Senarega,  Madonna  with  SS.  Catherine, 
Domenic,  and  a Donor.  E. 

Hampton  Court.  113.  Portrait  of  Man,  1546.  149.  Por- 

trait of  Man.  E. 

London.  4.  Holy  Family  and  Shepherd. 

35.  Bacchus  and  Ariadne.  1523. 

270.  “ Noli  me  Tangere.”  E. 

635.  Madonna  with  SS.  John  and  Catherine, 
1 533* 

Bridgewater  House,  Holy  Family.  E. 

“The  Three  Ages.”  E. 

Venus  rising  from  the  Sea. 

Diana  and  Actseon.  1559. 

Calisto.  1559. 

Mr.  Mond,  Madonna.  L. 

Madrid.  236.  Madonna  with  SS.  Ulfus  and  Bridget.  E. 

450.  Bacchanal. 

451.  Venus  Worship. 

452.  Alfonso  of  Ferrara,  1518. 

453.  Charles  V and  his  dog,  1533. 

454.  Philip  II  in  Armour,  1550. 

456.  The  Forbidden  Fruit.  L. 


The  Venetian  Painters  137 

Madrid.  (Con.)  437.  Charles  V on  Horseback,  1548. 

458.  Danae,  1554. 


Maniago. 

459.  Venus,  and  Youth  playing  Organ.  L. 

461.  Salome  (Portrait  of  Lavinia), 

462.  Trinity,  1554. 

463.  Knight  of  Malta.  L. 

464.  Entombment,  1359. 

463.  Sisyphus.  L. 

466.  Prometheus.  L. 

469.  St.  Margaret.  L. 

470.  Philip  II  offering  Infant  Don  Fernando  to 
Victory.  L. 

471.  Allocution  of  Alfonso  d’ Avalos,  1341. 

476.  Religion  succoured  by  Spain.  L. 

477.  Portrait  of  himself. 

480.  Portrait  of  Man. 

483.  The  Empress  Isabel,  1344. 

Casa  Maniago,  Portraits  of  Irene  and  of  Emilia 

di  Spilimbergo.  L. 

Medole  (near  Brescia).  Duomo,  Christ  appearing  to  his 


Milan. 

Mother.  L. 

Brera,  248.  St.  Jerome.  L. 
288.  bis.  Antonio  Porcia. 

Munich. 

1 1 10.  “Vanitas.”  E. 
mi.  Portrait  of  Man.  E. 

1 1 12.  Portrait  of  Charles  V,  1348. 

1 1 13.  Madonna.  L. 

1 1 14.  Christ  crowned  with  Thorns.  L. 

Naples. 

Scuola  Veneta,  11.  Philip  II.  20.  Paul  III, 
Ottaviano,  and  Card.  Farnese,  1343. 

Padua. 

Scuola  del  Santo,  Frescoes  : St.  Anthony 
granting  Speech  to  an  Infant.  The  Youth 
who  cut  off  his  own  leg.  The  Jealous  Hus- 
band. All,  1 31 1. 

Paris. 

1377.  Madonna  with  SS.  Stephen,  Ambrose,  and 
Maurice.  E. 

138 


Works  of 


Paris.  {Con.)  1578.  “La  Vierge  au  Lapin.” 

1 579.  Madonna  with  St.  Agnes. 

1581.  Christ  at  Emaus.  L. 

1 583.  Crowning  with  Thorns.  L. 

1584.  Entombment. 

1585.  St.  Jerome.  L. 

1587.  “ Venus  del  Prado.”  L. 

1 588.  Portrait  of  Francis  I. 

1589.  Allegory. 

‘ 1590.  “Alfonso  of  Ferrara  and  Laura  Dianti.” 

1591.  Portrait  of  Man  with  Hand  in  Belt. 

1592.  “ The  Man  with  the  Glove.”  E. 

1 593.  Portrait  of  Man  with  Black  Beard. 

Rome.  Villa  Borghese,  147.  Sacred  and  Profane  Love. 

E.  188.  St.  Dominic.  L.  170.  Education 
of  Cupid.  L. 

Capitol,  145.  Baptism,  with  Zuane  Ram  as 
Donor.  E. 

Doria,  Daughter  of  Herodias.  E. 

Vatican,  Madonna  in  Glory  with  six  Saints, 
1 523- 

Prince  Chigi,  Portrait  of  Aretino. 

Serravalle.  Duomo,  Madonna  in  Glory,  with  SS.  Peter  and 
Andrew,  1547. 

Treviso.  Duomo,  Annunciation. 

Urbino.  39.  The  Resurrection.  L. 

42.  Last  Supper.  L. 

Venice.  Academy,  426.  Presentation  of  Virgin  in  Tem- 
ple, 1540.  314.  St.  John  in  the  Desert, 

40.  Assunta,  1518.  400.  Pieta,  begun  in 

1573,  not  quite  finished  at  Titian’s  death. 

Palazzo  Ducale,  Staircase  to  Doge’s  private 
apartments,  Fresco  : St.  Christopher,  1323. 
Sala  di  Quattro  Porte,  Doge  Grimani  be- 
fore Faith,  1355. 


The  Venetian  Painters 


139 


Venice.  {Con.)  Palazzo  Reale,  on  ceiling  of  ante-room  to 
Libreria,  Wisdom.  L. 

Giovanelli,  Portrait  of  Man.  L. 

Frari,  Pesaro  Madonna,  1526. 

Gesuiti,  Martyrdom  of  St.  Lawrence.  L. 

S.  Giovanni  Elemosinario,  St.  John  the  Alms- 
giver,  1533. 

S.  Lio,  St.  James  of  Compostella.  L. 

S.  Marcuolo,  The  Christ  Child  between  SS. 

Catherine  and  Andrew.  E. 

S.  Marziale,  Tobias  and  the  Angel,  1540. 

Scuola  di  S.  Rocco,  Annunciation.  Dead 
Christ  (?).  E. 

Salute,  Descent  of  Holy  Spirit.  L. 

Ceiling  of  Choir : Eight  Medallions,  one  a 
Portrait  of  Titian  himself,  the  rest  Heads 
of  Saints. 

Sacristy,  St.  Mark  between  SS.  Roch,  Sebas- 
tian, Cosmos,  and  Damian.  E. 

Ceiling,  David  and  Goliath. 

Sacrifice  of  Isaac.  Cain  slaying  Abel. 

S.  Salvatore,  Annunciation.  L.  Transfigura- 
tion. L. 

S.  Sebastiano,  St.  Nicholas  of  Bari  (in  part),  1563. 
Verona.  51.  Portrait  of  Ferdinand,  King  of  the  Romans. 

Duomo,  Assumption  of  Virgin. 

Vienna.  17 6.  “Gipsy  Madonna.”  E. 

180.  “ Madonna  with  the  Cherries.”  E. 

178.  “The  Large  Ecce  Homo,”  1543. 

18 1.  “The  Little  Tambourine  Player.”  E. 

163.  Isabella  d’Este,  1534. 

197.  “Das Madchen  in  Pelz”  (Eleanora Gonzaga). 
177.  “ Benedetto  Varchi.” 

167.  “ The  Physician  Parma.”  E. 

19 1 . John  Frederick  of  Saxony,  1348. 

182.  Jacopo  di  Strada,  1366. 


140 


Works  of 


Vienna.  (Con.)  186.  Shepherd  and  Nymph.  L. 

Czernin,  Portrait  of  Doge  Gritti. 

GIROLAMO  DA  TREVISO,  THE  YOUNGER. 

j 497- 1 544.  Pupil  of  his  father,  P.  M.  Pennachi ; influenced  by  Catena,  Gior- 


Bologna. 

gione,  and  later  by  Dosso  Dossi  and  Raphael. 

S.  Giovanni  in  Monte,  ist  Altar  R.  Noli  me 
Tangere.  E. 

S.  Petronio,  9TH  Chapel  R.  Monochrome  fres- 
coes : Miracles  of  St.  Antony  of  Padua. 

Bowood. 

Marquess  of  Lansdowne,  Portrait  of  elderly  Man 
with  yellow  Beard. 

Dresden. 

Faenza. 

99.  Adoration  of  Magi. 

La  Magione,  Choir,  Frescoes  : Madonna  and 
Saints,  with  Sabba  Castiglione  as  Donor,  1 533. 

Ferrara. 

London. 

Sig.  Santini,  A female  Saint  and  five  Men. 

263.  Madonna,  Saints,  and  Donor. 

Mr.  Mond,  Bust  of  Young  Man. 

Duke  of  Westminster,  Nativity.  St.  Luke  paint- 

ing  the  Virgin. 

Mells  Park,  Frome.  Mrs.  J.  Horner,  Adoration  of  Magi. 


Milan. 

L. 

Sig.  Bagati-Valsecchi,  The  Forge  of  Vulcan 
(fresco  on  chimney-piece). 

Modena. 

S.  Pietro,  Holy  Family  with  infant  John  and  St. 

Catherine. 

Munster  (in  W.).  Kunstverein,  64.  The  Saviour  (?). 
Rome.  Colonna,  109.  Portrait  of  Man. 


Trent. 

Donna  Laura  Minghetti,  Judgment  of  Paris  (?). 
Castle,  Chapel,  Frescoes. 

Inner  Room,  Frieze. 

Nos.  4 and  6 Piazza  Grande,  and  12  Via  del 
Teatro,  Frescoes  on  facades. 

St.  George  and  the  Dragon . By  Paris  Bor  done. 

Picture  in  the  Vatican,  Rome. 


The  Venetian  Painters 


lne  Venetian  rainters  141 

Venice. 

Salute,  Sacristy,  St.  Roch  between  SS.  Sebas- 
tian and  Jerome.  E. 

Verona. 

Vienna. 

121.  Annunciation  (?). 

E.  512.  Portrait  of  Man. 

PAOLO  VERONESE. 

1528-1588.  Pupil  of  Antonio  Badile  ; strongly  influenced  by  Dom.  Brusasorci. 

Dresden.  224.  Madonna  with  Cuccina  Family. 


Florence. 

225.  Adoration  of  Magi. 

226.  Marriage  of  Cana. 

229.  Finding  of  Moses  (in  part  only). 

236.  Portrait  of  Daniel  Barbaro. 

Pitti,  216.  Portrait  of  Daniel  Barbaro. 

Uffizi,  589.  Martyrdom  of  S.  Giustina.  E. 

1 136.  Holy  Family  and  St.  Catherine. 
Hampton  Court.  Madonna  and  Saints  (?). 

London.  26.  Consecration  of  St.  Nicholas. 


Madrid. 

294.  Alexander  and  the  Family  of  Darius. 
Dr.  Richter,  Holy  Family.  E. 

528.  Christ  and  the  Centurion. 

532.  Finding  of  Moses  (?). 

Maser. 

Milan. 

Villa  Barbaro,  Frescoes. 

Brera,  227.  SS.  Antony,  Cornelius,  and  Cy- 
prian, and  Page. 

Padua. 

Paris. 

S.  Giustina,  Martyrdom  of  St.  Giustina, 
1 196.  Christ  at  Emaus. 

1199.  Young  Mother  and  Child.  E. 
1192.  Marriage  of  Cana. 

Rome. 

Colonna,  90.  Portrait  of  Man  in  Green. 

Villa  Borghese,  ioi.  St.  Antony  preaching  to 
the  Fishes. 

Venice. 

Academy,  212.  Battle  of  Lepanto.  203.  Feast  in 
House  of  Levi,  1573.  37.  Madonna  with  SS. 
Joseph,  John,  Francis,  Jerome,  and  Giustina. 

142 


Works  of 


Venice.  {Con.)  Palazzo  Ducale,  Collegio,  Thanksgiving  for 
Lepanto. 

Ante-Collegio,  Rape  of  Europa. 

S.  Barnaba,  Holy  Family. 

S.  Caterina,  Marriage  of  St.  Catherine. 

S.  Francesco  della  Vigna,  Holy  Family  with 
SS.  Catherine  and  Antony  Abbot. 

S.  Sebastiano,  Madonna  and  two  Saints.  Cru- 
cifixion. Madonna  in  Glory  with  St.  Sebas- 
tian and  other  Saints.  SS.  Mark  and 
Marcilian  led  to  Martyrdom  (in  part).  St. 
Sebastian  being  Bound  (?). 

Frescoes  : SS.  Onofrio  and  Paul  the  Hermit. 
SS.  Matthew  and  Mark.  SS.  Roch,  An- 
drew, Peter,  and  Figure  of  Faith.  Tibur- 
tine  and  Cumsean  Sibyls. 

Verona.  267.  Portrait  of  Pasio  Guadienti,  1556. 

245.  Deposition  (?). 

S.  Giorgio,  Martyrdom  of  St.  George. 

S.  Paolo,  Madonna  and  Saints.  E. 

Vicenza.  Sala  II,  12.  Madonna. 

Monte  Berico,  Feast  of  St.  Gregory,  1572. 
Vienna.  396.  Christ  at  the  House  of  Jairus. 

ALVISE  VIVARINI. 

Active  1461-1503.  Pupil  of  his  uncle  Bartolommeo. 

Barletta.  S.  Andrea.  Sacristy,  Madonna,  i486. 

Berlin.  38.  Madonna  enthroned  with  six  Saints. 

1165.  Madonna  enthroned  with  four  Saints.  L. 
Florence.  Mr.  Charles  Loeser,  Madonna. 

Gosford  House,  N.  B.  Lord  WEMys,  Bust  of  Smooth- 
faced Man. 

London.  The  Misses  Cohen,  Bust  of  a Venetian  Noble. 
Mr.  Salting,  Portrait  of  Youth. 


The  Venetian  Painters 


143 


Milan. 

Brera,  Dead  Christ  adored  by  two  Angels.  E. 
Bonomi-Cereda,  Portrait  of  Man,  1497. 

Signor  Bagati-Valsecchi,  S.  Giustina  dei 
Borromei.  L. 

Modena.  319.  Portrait  of  Man  (?). 
Montefiorentino.  Polyptych,  1475. 


Naples. 

Scuola  Veneta,  i.  Madonna  with  SS.  Francis 
and  Bernardino,  1485. 

Padua. 

Paris. 

1371.  Portrait  of  a Man. 

1519.  Portrait  of  a Man.  L. 

Countess  de  Bearn,  Portrait  of  Man.  L. 

Venice. 

Academy,  619.  St.  Matthew.  618.  St.  John 
the  Baptist.  612.  St.  Sebastian.  St.  An- 
tony Abbot.  St.  John  Baptist.  St.  Laurence. 
E.  593.  St.  Clare.  87.  Head  of  Christ.  L. 
607.  Madonna  and  six  Saints,  1480. 

Museo  Correr,  Sala  IX,  44.  St.  Antony  of 
Padua. 

Frari,  St.  Ambrose  enthroned  and  Saints.  Be- 
gun in  1503,  finished  by  Basaiti. 

S.  Giovanni  in  Bragora,  Madonna  : Head  of 
Christ,  1493  : Resurrection,  1498  ; Predelle  to 
last.  Busts  of  Saviour,  John,  and  Mark. 

S.  Giovanni  e Paolo,  Christ  bearing  Cross. 

Redentore,  Sacristy,  Madonna. 

Lady  Layard,  Portrait  of  Man. 

Seminario,  Stanza  del  Patriarca,  Portrait  of 
Man.  L. 

Vienna. 

12.  Madonna,  1489. 

Academy,  St.  Clare.  Female  Saint  with  Mon- 

strance. 

Windsor  Castle.  Portrait  of  Man  with  Hawk. 


144 


The  Venetian  Painters 


BARTOLOMMEO  VIVARINI. 

Active  1450-1499.  Pupil  of  Giovanni  and  Antonio  da  Murano  ; influenced 

by  Paduans. 

Bergamo.  Frizzoni-Saus,  Madonna  and  two  Saints. 
Boston,  U.  S.  A.  Mr.  Quincy  Shaw,  Magdalen. 

Fermo.  Count  Bernetti,  SS.  Francis  and  James. 
Gosford  House,  N.  B.  Lord  Weyms,  Polyptych.  E. 
London.  284.  Madonna  with  SS.  Paul  and  Jerome. 
Meiningen.  Ducal  Palace,  An  Apostle. 

Naples.  Sala  Veneta,  5.  Madonna  enthroned,  1465. 
Newport,  U.  S.  A.  Mr.  T.  H.  Davis,  Madonna. 

Paris.  1607.  St.  John  Capistrano,  1459. 

Turin.  780.  Madonna,  1481. 

Venice.  Academy,  615,  1.  Altar-piece  in  five  parts, 
1464.  584.  Mary  Magdalen.  585.  St.  Bar- 

bara, 1490. 

Frari,  Madonna  and  four  Saints,  1482. 

S.  Giovanni  in  Bragora,  Madonna  between  SS. 

Andrew  and  John,  1478. 

S.  Giovanni  e Paolo,  St.  Augustine,  1473.  SS. 
Dominic  and  Lawrence. 

S.  Maria  Formosa,  Triptych  : Madonna,  Birth 
of  Virgin,  Meeting  of  Joachim  and  Anne,  1473. 
10.  St.  Ambrose  between  SS.  Peter,  Louis, 
Paul,  and  Sebastian,  1477. 


Vienna. 


INDEX  OF  PLACES. 

AM 

Alnwick. 

Guardi. 

Duke  of  Northumberland  : Basaiti,  Licinio,  Pal- 
ma. S.  del  Piombo. 

Alzano. 

Amiens. 

Ancona. 

Church  : Lotto. 

Guardi,  Schiavone,  Tiepolo. 
Gallery  : Crivelli,  Lotto,  Titian. 
S.  Domenico  : Titian. 

Antwerp. 

Ascoli. 

Gallery  : Antonello,  Titian. 
Duomo  : Crivelli. 

Gallery.  Titian. 

Ashridge. 

Lord  Brownlow:  Bassano,  Bordone,  Cariani, 
Polidoro. 

Asolo. 

Church  : Lotto. 

Augsburg.  Gallery  : Barbari,  Bassano,  Tintoretto. 

Badger  Hall.  (Shropshire).  Mr.  F.  Capel-Cure  : Basaiti, 

Guardi,  Pordenone,  Schiavone,  Tiepolo. 
Balcarres,  N.  B.  Lord  Crawford  : Licinio. 


Bari. 

Barletta. 

Basel. 

Bassano. 

Cathedral:  Paris,  Bordone,  Tintoretto. 

S.  Andrea  : Alvise  Vivarini. 

Cariani. 

Gallery  : Bassano,  Guardi. 

Duomo,  and  S.  Giovanni  : Jacopo  Bassano. 
S.  M.  delle  Grazie  i J.  Bassano. 

Belluno. 

Bartolommeo  Veneto,  Beccaruzzi,  Montagna. 

10 

u«; 

145 


146 


Index  of  Places 


Bergamo.  Gallery,  Carrara  Collection  : Bartolommeo 
Veneto,  Basaiti,  Bassano  Bonifazio,  Cariani, 
Gatena,  Lotto,  Previtali,  Schiavone,  Tintoretto. 

Lochis  Collection  : Antonello,  Barbari,  Barto- 
lommeo Veneto,  Basaiti,  Beccaruzzi,  Giovanni 
Bellini,  Bonsignori,  Bordone,  Cariani,  Crivelli, 
Guardi,  Licinio,  Lotto,  Montagna,  Palma 
Vecchio,  Previtali. 

Morelli  Collection  : Basaiti,  Giovanni  Bellini, 
Cariani,  Cimi,  P.  Longhi,  Montagna,  Polidoro. 

Signor  Baglioni  : Bassano,  Cariani,  Guardi, 

Longhi,  Previtali,  Tiepolo. 

Frizzoni-Salis  : Barbari,  Basaiti,  Bassano,  Boni- 
fazio, Montagna,  Bartolommeo,  Vivarini. 

Conte  Moroni  : Guardi,  Previtali. 

Signor  Piccinelli  : Cariani,  Licinio,  Lotto,  Tiepolo. 

Conte  Roncalli  : Cariani. 

Conte  Suardi  : Cariani,  Bassano. 

S.  Alessandro  in  Colonna  : Lotto. 

S.  Alessandro  in  Croce  : Lotto. 

S.  Andrea  : Previtali. 

S.  Bartolommeo  : Lotto. 

S.  Bernardino  : Lotto. 

Colleoni  Chapel  : Tiepolo. 

Duomo  : Cariani,  Previtali,  Tiepolo. 

S.  Maria  Maggiore  : Lotto,  Previtali. 

S.  Michele  : Lotto. 

S.  Spirito  : Lotto,  Previtali. 

Berlin.  Antonello,  Barbari,  Basaiti,  Giovanni  Bellini, 
Bissolo,  Bordone,  Caprioli,  Cariani,  Carpaccio, 
Catena,  Cima,  Crivelli,  Giorgione,  Guardi, 
Lotto,  Montagna,  Palma,  Sebastiano  del  Pi- 
ombo,  Polidoro,  Previtali,  Rocco  Marconi, 
Rondinelli,  Savoldo,  Schiavone,  Tiepolo,  Tin- 
toretto, Titian,  Alvise  Vivarini,  Bartolommeo 
Vivarini. 


Index  of  Places 


147 


Berlin  (Con.).  Nazional  Galerie,  Racynski  Collection  : 
Catena,  Polidoro. 

Herr  Beckerath  : Basaiti. 

Herr  Kaufmann  : Basaiti,  Bassano,  Beccaruzzi, 
Schiavone,  Tintoretto. 

Herr  Wesendonck  : Bassano,  Beccaruzzi,  Poli- 
doro, Rondinelli. 

Biel,  N.  B.  Mrs.  Hamilton  Ogilvie  : Bassano,  Canale,  Guardi. 

Bologna.  Gallery  : Bassano,  Cima,  Tintoretto. 

S.  Giovanni  in  Monte  : Girolamo  da  Treviso. 

S.  Petronio  : Girolamo  da  Treviso. 

Boston,  U.  S.  A.  Museum  : Basaiti,  Beccaruzzi. 

Mrs.  J.  L.  Gardner  : Bonifazio,  Catena,  Guardi, 
Polidoro,  Tintoretto,  Titian. 

Mr.  J.  Quincy  Shaw  : Cima,  Licinio,  Bartolom- 
meo, Vivarini. 

Bowood.  Marquess  of  Lansdowne  : Cariani,  Guardi,  Se- 
bastiano  del  Piombo,  Girolamo  da  Treviso. 

Bremen.  Kunsthalle  : Montagna. 

Brescia.  Gallery  Tosio  : Bissolo,  Lotto,  Tintoretto. 

S.  Afra  : Tintoretto. 

S.  Alessandro  : Jacopo  Bellini. 

S.  Nazaro  e Celso  : Titian. 

Brighton.  Mr.  Constantine  Ionides  : Guardi,  Tiepolo. 

Mr.  Henry  Willett  : Caprioli,  Licinio. 

Broomhall,  N.  B.  Lord  Elgin  : S.  del  Piombo. 

Brunswick.  Gallery  : Palma,  Vecchio. 

Brussels.  Bassano,  Crivelli,  Guardi. 

M.  Leon  Somzee  : Bart.  Veneto,  Tiepolo. 

Buda-Pesth.  Basaiti,  Bassano,  Beccaruzzi,  Gentile  Bellini, 
Cariani,  Catena,  Crivelli,  Giorgione,  Guardi, 
Licinio,  Palma,  S.  del  Piombo,  Polidoro, 
Previtali,  Rocco  Marconi,  Schiavone,  Tiepolo, 
Tintoretto. 

Herr  Rath  : Licinio. 


I4S 


Index  of  Places 


Caen.  Carpaccio,  Tiepolo,  Tintoretto. 

Cambridge.  Fitzwilliam  Museum  : Beccaruzzi,  Guardi,  Palma, 
Polidoro. 

Cambridge,  U.  S.  A.  Prof.  C.  E.  Norton  : Licinio,  Longhi, 
Tintoretto. 

Campo  S.  Piero.  Oratory  of  S.  Antonio  : Bonifazio  (in 
part). 

Canford  Manor,  Wimborne  (Dorset).  Lord  Wimborne  : 
Cariani,  Cima,  Licinio,  Palma,  Tintoretto. 
Carder  House  (near  Glasgow).  Mr.  Archibald  Stirling  : 
Tintoretto. 

Casarsa.  Parish  Church  : Pordenone. 

Castelfranco.  Church  : Giorgione. 

Castle  Barnard.  Bowes  Museum  : Caprioli. 

Celana  (near  Bergamo).  Lotto. 

Ceneda.  Madonna  di  Meschio  : Previtali. 

Certosa  (near  Pavia).  Montagna. 

Chantilly.  Due  d’  Aumale  : Bissolo,  Rocco  Marconi. 
Chatsworth.  Duke  of  Devonshire  : Bassano,  Bordone, 

Cariani,  Schiavone. 

Cingoli.  S.  Domenico  : Lotto. 

Cittadella.  Duomo:  Bassano. 

Cobham  Hall.  Lord  Darnley  : Titian. 

Colalto.  S.  Salvatore  : Pordenone. 

Cologne.  Gallery  : Bordone,  Catena,  Polidoro,  Tintoretto. 
Conegliano.  Duomo  : Beccaruzzi,  Cima. 

S.  M.  delle  Grazie  : Beccaruzzi. 

S.  Rocco  : Beccaruzzi. 

Costa  di  Mezzate  (near  Gorlago).  Lotto. 

Cracow.  Prince  Czartoryski  : S.  del  Piombo. 

Cremona.  Duomo  : Pordenone. 

Dijon.  Bassano,  Caprioli. 


St.  George  and  Dragon . By  Tintoretto. 

Picture  in  the  National  Gallery , London. 


, 

. 


■ 


Index  of  Places 


149 


Douai. 

Dresden. 

Bartolommeo  Veneto. 

Antonello,  Barbari,  Bartolommeo  Veneto,  Bas- 
sano, Beccaruzzi,  Bonifazio,  Bordone,  Cana- 
letto, Catena,  Cima,  Giorgione,  Licinio,  Longhi, 
Lotto,  Palma  Vecchio,  Polidoro,  Previtali, 
Rocco  Marconi,  Tintoretto,  Titian,  Girolamo 

da  Treviso,  Veronese. 

Diisseldorf.  Bissolo,  Cima,  Rocco  Marconi. 

Edinburgh.  Bassano,  Bordone,  Guardi,  Polidro,  Tiepolo. 


Escurial. 

Faenza. 

Feltre. 

Fermo, 

Tintoretto. 

La  Magione  : Gir.  da  Treviso. 
Seminario  : Bassano. 

Carmine  : Rondinelli. 

Casa  Bernetti  : Savoldo,  B.  Vivarini. 

Ferrara. 

Beccaruzzi,  Carpaccio. 

Sig.  Vendeghini  : Jacopo  Bellini. 
Sig.  Santini  : Girolamo  da  Treviso. 

Florence. 

Pitti  : Barbari,  Bonifazio,  Bordone,  S.  del  Piom- 
bo,  Polidoro,  Schiavone,  Tintoretto,  Titian, 
Veronese. 

LJffizi  : Bartolommeo  Veneto,  Bassano,  Becca- 
ruzzi, Giovanni  Bellini,  Bordone,  Canaletto, 
Carpaccio,  Giorgione,  Licinio,  Lotto,  Palama 
Vecchio,  S.  del  Piombo,  Rondinelli,  Schiavone, 
Tintoretto,  Titian,  Veronese. 

Palazzo  Panciatichi  : Crivelli. 

Mr.  Loeser  : Savoldo,  Longhi,  Alvise  Vivarini. 
Fonthill  (Wilts).  Mr.  Alfred  Morrison,  Bonsignori. 

Forli.  Gallery  : Rondinelli. 

Duomo  : Rondinelli. 

S.  Mercuriale  : Rondinelli. 

Frankfort  (a/M.).  Gallery  : Bartolommeo  Veneto,  Gentile 
Bellini,  Canale,  Carpaccio,  Cima,  Crivelli,  Tie- 
polo. 


Index  of  Places 


150 

Genoa.  Brignole-Sale  : Bordone,  Licinio,  Palma  Vecchio. 

Prince  Giorgio  Doria  : Bartolommeo  Veneto. 

Palazzo  Balbi-Senarega  : Titian. 

S.  Annunziata  : Bissolo. 

Glasgow.  Bart.  Veneto,  Beccaruzzi,  Bordone,  Cariani,  Cate- 
na, Guardi,  Palmo,  Polidoro. 

Gosford  House,  N.  B.  Lord  Wemys  : Bassano,  Bonsignori, 
Bordone,  Savoldo,  Schiavone,  Alvise  and 
Bart.  Vivarini. 

Hague.  Gallery  : Bonifazio. 

Haigh  Hall  (near  Wigan).  Lord  Crawford  : Beccaruzzi, 
Carpaccio. 

Hamburg.  Consul  Weber  : Barbari,  Guardi,  Lotto,  Palma, 
Previtali,  Schiavone,  Tiepolo,  Tintoretto. 

Hampton  Court.  Bassano,  Bissolo,  Bonifazio,  Bordone, 
Canaletto,  Cariani,  Giorgione,  Licinio,  Longhi, 
Lotto,  Palma  Vecchio,  Polidoro,  Savoldo, 
Schiavone,  Tintoretto,  Titian. 

Hermannstadt.  Lotto. 

Hopetoun  House,  N.  B.  Lord  Hopetoun  : Bassano,  Becca- 
ruzzi, Canale. 

Horsmonden.  Mrs.  Austen  : Cariani,  Licinio,  Palma. 

Innsbruck.  Rondinelli. 

Jesi.  Library  : Lotto. 

Keir,  N.  B.  Mr.  Archibald  Stirling  : Beccaruzzi,  Bordone, 

Longhi,  Previtali. 

Kingston  Lacy.  Mr.  Ralph  Banks  : Cariani. 

Langton,  N.  B.  (near  Duns).  Mrs.  Baillie-Hamilton  : Poli- 
doro. 

Leipzig.  Rocco  Marconi,  Tintoretto. 

Lille.  Beccaruzzi,  Bonifazio,  Polidoro,  Tintoretto. 

Linlathen,  N.  B.  Col.  Erskine  : Bassano,  Beccaruzzi,  S.  del 
Piombo,  Polidoro. 


Index  of  Places 


151 


Liverpool.  Catena,  Rondinelli. 

London.  National  Gallery  : Antonello,  Bartolommeo 
Veneto,  Basaiti,  Bassano,  Gentile  Bellini,  Gio- 
vanni Bellini,  Bonifazio,  Bonsignori,  Bordone, 
Canaletto,  Cariani,  Carpaccio,  Catena,  Cima, 
Crivelli,  Guardi,  Licinio,  Pietro  Longhi,  Lotto, 
Palma  Vecchio,  Sabastiano  del  Piombo,  Previ- 
tali,  Rocco  Marconi,  Savoldo,  Tiepolo,  Tinto- 
retto, Titian,  Gir.  da  Treviso,  Veronese, 
Bartolommeo  Vivarini. 

Burlington  House,  Diploma  Gallery  : Becca- 
ruzzi. 

South  Kensington  Museum,  Jones  Collection  : 
Crivelli. 

Lord  Ashburnham  : Caprioli,  Catena,  Rocco 
Marconi. 

Lady  Ashburton  : Crivelli,  Licinio,  Rondinelli. 

Apsley  House  : Beccaruzzi. 

Lord  Battersea  : Polidoro,  Tiepolo. 

Mr.  W.  B.  Beaumont  : Catena  (?). 

Mr.  R.  H.  Benson  : Bartolommeo  Veneto,  Ba- 
saiti, Bassano,  Bissolo,  Bonifazio,  Caprioli, 
Cariani,  Carpaccio,  Catena,  Crivelli,  S.  del 
Piombo,  Polidoro. 

Mr.  F.  Cavendish-Bentinck  : Longhi. 

Bridgewater  House  : Bordone,  Lotto,  Tin- 

toretto. 

Lord  Brownlow  : Bordone,  Polidoro,  Tinto- 
retto. 

Mr.  C.  Butler  : Basaiti,  Bassano,  Beccaruzzi, 
Bonifazio,  Catena,  Licinio,  Montagna,  Rocco 
Marconi,  Tintoretto,  Bartolommeo  Vivarini. 

Mr.  J.  P.  Carrington  : Rocco  Marconi. 

The  Misses  Cohen  : Bordone,  Canale,  Guardi, 
Tiepolo,  Alvise  Vivarini, 

Mr.  Martin  Colnaghi  : Lotto,  Tiepolo. 


152 


Index  of  Places 


London  {Con.).  Sir  W.  M.  Conway  : Lotto,  Tiepolo. 

Mr.  R.  Crawshay  : Crivelli,  Tintoretto. 

Mr.  T.  D.  Crews  : Bonifazio. 

Mr.  G.  Donaldson  : Bassano,  Bordone. 

Dorchester  House  : B.  Veneto,  Beccaruzzi, 
Canale,  Cariani,  Guardi,  Licinio,  Lotto,  Poli- 
doro,  Rondinelli,  Tintoretto. 

SirWm.  Farrer  : Beccaruzzi,  Guardi,  Montagna, 
Polidoro,  Tintoretto. 

Mr.  Wickham  Flower  : Palma. 

Sir  A.  Wollaston  Franks  : Guardi. 

Sir  Julian  Goldschmid  : Guardi. 

Duke  of  Grafton  : Caprioli,  S.  del  Piombo. 

Hartford  House  : Canale,  Cima,  Crivelli,  Guardi. 

Mr.  J.  P.  Heseltine  : Catena. 

Sir  H.  Howarth  : Previtali,  Schiavone. 

Lord  Houghton  : Guardi. 

Mr.  Arthur  James:  Guardi,  Tintoretto. 

Mr.  James  Knowles  : Schiavone. 

Marquis  of  Lansdowne  : Cariani. 

Mr.  Muir  Mackenzie  : Polidoro. 

Mr.  Ludwig  Mond  : Giovanni  and  Gentile  Bellini, 
Bissolo,  Canaletto,  Catena,  Cima,  Crivelli, 
Guardi,  P.  Longhi,  Palma,  S.  del  Piombo, 
Polidoro,  Savoldo,  Tintoretto,  Titian,  Girolamo 
da  Treviso. 

Lord  Northbrook  : Beccaruzzi,  Crivelli,  Rocco 
Marconi. 

Duke  of  Northumberland  : Caprioli,  Tintoretto. 

Dr.  J.  P.  Richter  : Bonifazio,  Bordone,  Canale, 
Guardi,  Tiepolo,  Veronese. 

Lord  Rosebery:  Bordone,  Tintoretto. 

Mr.  George  Salting  : Basaiti,  Cariani,  Guardi, 
Sebastiano  del  Piombo,  Tintoretto,  Alvise 
Vivarini. 

Mr.  Stuart  M.  Samuel  : Crivelli. 


Index  of  Places 


153 


London.  {Con.)  Sir  B.  Samuelson  : Montagna,  Rondinelli. 

Sir  Michael  Shaw-Stuart  : Basaiti,  Rocco  Mar- 
coni. 

Mr.  J.  E.  Tayler  : Cima. 

Duke  of  Westminster  : Canale,  Polidoro,  Giro- 
lamo da  Treviso. 

Mrs.  Anderson  Weston  : Guardi. 

Lord  Yarborough  : Polidoro. 


Loreto. 

Lovere. 

Liibeck. 

Lucca. 


Palazzo  Apostolico  : Lotto. 

Gallery  Tadini  : Jacopo  Bellini,  Bordone, 

Cariani. 

Tintoretto. 

Gallery  : Tintoretto. 


Lyons.  Tinoretto. 

Macerata.  Gallery  : Crivelli. 

Madrid.  Giorgione,  Lotto,  S.  del  Piombo,  Tintoretto, 

Titian,  Veronese, 

Maniago.  Casa  Maniago  : Titian. 

Mantua.  Academia  Virginia  : BonsignorL 

Marseilles.  Cariani,  Schiavone. 


Maser.  Villa  Barbaro  : Veronese. 

Massa  Fermana.  Municipio  : Crivelli. 

Mayence.  Tiepolo. 

Medole  (near  Brescia).  Duomo  : Titian. 

Meiningen.  Ducal  Palace  : Basaiti,  Bart.  Vivarini. 

Mells  Park,  Frome.  Mrs.  John  Horner:  Cariani,  Cima, 
Polidoro  Lanzani,  Girolamo  da  Treviso. 


Milan.  Brera  : Gentile  Bellini,  Giovanni  Bellini,  Bissolo, 
Bonifazio,  Bonsignori,  Bordone,  Cariani, 
Carpaccio,  Cima,  Crivelli,  Lotto,  Montagna, 
Palma  Vecchio,  Previtali,  Rondinelli,  Savoldo, 
Tintoretto,  Titian,  Veronese,  Aivise  Vivarini. 
Poldi  - Pezzoli  : Bonifazio,  Cariani,  Crivolli, 

Guardi,  Lotto,  Montagna,  Tiepolo. 


154 


Index  of  Places 


Milan.  {Con.)  Museo  Civico  : Antonello,  Beccaruzzi,  Cariani, 
Crivelli,  Guardi,  Licinio,  Lotto,  Rondineili, 
Schiavone. 

Ambrosiana  : Bartolommeo  Veneto,  Basaiti,  Bas- 
sano,  Bonifazio,  Cariani,  Savoldo. 

Natural  History  Museum  : Tiepolo. 

Archbishop’s  Palace  : Licinio. 

Bagati-Valsecchi  : Gir.  da  Treviso,  Alvise 
Vivarini. 

Borromeo  : Bartolommeo  Veneto,  Lotto. 

Palazzo  Chierici  : Tipolo. 

Sig.  Bertini  : Guardi. 

Sig.  B.  Crespi  : Bordone,  Licinio,  Longhi,  Savoldo, 
Tiepolo. 

Dr.  Gust.  Frizzoni  : Giovanni  Bellini,  Cariani, 
Lotto,  Montagna,  Pordenone,  Previtali. 

Duca  Melzi  : Bartolommeo  Veneto. 

Casa  Sormani,  Canaletto. 

Prince  Trivulzio  : Antonello,  Guardi. 

S.  Maria  presso  Celso:  Bordone. 

Modena.  Gallery  : Bassano,  Catena,  Cima,  Licinio, 
Longhi,  Montagna,  Polidoro,  Alvise  Vivarini. 

Count  Lotario  Rangoni  : Palma. 

S.  Pietro  : Girolamo  da  Treviso. 

Monopoli.  Duomo  : Gentile  Bellini. 

Montefiorentino.  Alvise  Vivarini. 

Monte  San  Giusto.  S.  Maria  : Lotto. 

Montpellier.  Bassano. 

Motta  di  Livenza.  S.  Maria  dei  Miricoli,  Caprioli,  Por- 
denone. 

Munich.  Basaiti,  Bossano,  Bordone,  Cariani,  Cima,  Licinio, 
Lotto,  Palma,  Polidoro,  Rocco  Marconi,  Schia- 
vone, Tiepolo,  Titian. 

Lotzbeck  Collection  : Bassano,  Cariani,  Savoldo. 

Miinster  (in  W.).  Licinio,  Gir.  da  Treviso,  Rocco  Marconi. 


Index  of  Places 


155 


Murano. 

S.  Pietro  : Basaiti,  Giovanni  Bellini. 
S.  Maria  degli  Angeli  : Pordenone. 

Nancy. 

Naples. 

Bartolommeo  Veneto,  Lotto. 

Antonello,  Barbari,  Giov.  Bellini,  Lotto,  Palma, 
S.  del  Piombo,  Polidoro,  Titian,  Alvise 
Vivarini,  Bartolommeo  Vivarini. 

Museo  Filangieri  : Caprioli,  Guardi. 

Narbonne.  Beccaruzzi. 

New  Battle,  N.  B.  Marquis  of  Lothian  : Canale,  Caprioli, 
Polidoro,  Rocco  Marconi. 

Newport,  U.  S.  A.  Mr.  T.  H.  Davis  : Giov.  Bellini,  Tin- 
torreto,  B.  Vivarini. 

New  York,  U.  S.  A.  Metropolitan  Museum  : Guardi,  Tie- 
polo. 

Marquand  Col.  : Savoldo. 

Historical  Society  : Bordone,  Cariani. 

Nimes.  Catena. 

Oldenburg.  Beccaruzzi,  Cariani,  Previtali,  Rondinelli 
Olera.  Church  : Cima. 


Osimo. 

Oxford. 

Municipio  : Lotto. 

Talorian  Museum  : Guardi. 

Christ  Church  Library  : Polidoro,  Previtali. 

Padua. 

Gallery  : Basaiti,  Beccaruzzi,  Jacopo  Bellini, 
Bordone,  Catena,  Guardi,  Licinio,  Previtali, 
Rocco  Marconi,  Rondinelli,  Tiepolo,  Alvise 
Vivarini. 

Santo  : Tiepolo. 

Scuolo  del  Santo  : Montagna,  Titian. 

S.  Giustina  : Veronese. 

S.  Maria  in  Vanzo  : Bassano,  Montagna. 

Bishop’s  Palace  : Montagna. 
Panshanger.  Lord  Cowper  : Montagna,  Tintoretto. 


Paris. 

Louvre:  Antonello, B. Veneto,  Bassano,  Bonifazio, 
Bordone,  Canale,  Cariani,  Carpaccio,  Catena, 

156  Index  of  Places 

Paris.  (Con.)  Cima,  Crivelli,  Giorgione,  Guardi,  Lotto,  Mon- 
tagna, Palma,  S.  del  Piombo,  Polidoro,  Rondi- 


Parma. 

nelli,  Schiavone,  Tiepolo,  Tintoretto,  Titian, 
Veronese,  Alvise  Vivarini,  Bart.  Vivarini. 

Mme.  Andre  : Canale,  Catena,  Guardi,  Polidoro, 
Tiepolo. 

Countess  de  Bearn  : Alvise  Vivarini. 

Mr.  Leopold  Goldschmidt  : Catena,  Guardi,  Tie- 
polo. 

M.  Salomon  Goldschmidt  : Catena. 

M.  Maurice  Kann  : Canale. 

M.  Martin  Leroy  : Basaiti. 

M.  Alphonse  de  Rothschild  : Palma  Vecchio,  S. 
del  Piombo. 

Prince  Sciarra  : Bonsignori. 

Gallery  : Beccaruzzi,  Cima,  S.  del  Piombo, 
Schiavono,  Tiepolo. 

Pausula. 

Peghera. 

Pesaro. 

S.  Agostino  : Crivelli. 

Church  : Palma. 

Gallery  *.  Giovanni  Bellini. 

S.  Francesco  : Giovanni  Bellini. 

Piacenza. 

S.  Maria  della  Campagna  : Pordenone. 

Piove  (near  Padua).  S.  Niccolo  : Tiepolo. 
Ponteranica  (near  Bergamo).  Church  : Lotto. 
Pordenone.  Municipio  : Pordenone. 

Duomo  : Pordenone. 

Praglia  (near  Padua).  Refectory  : Montagna. 
Ravenna.  Gallery  : Rondinelli. 


Recanati. 

S.  Domenico  : Rondinelli. 
Municipio  : Lotto. 

S.  Domenico  : Lotto. 

S.  Maria  sopra  Mercanti  : Lotto. 

Richmond. 

Sir  Francis  Cook  : Bordone,  Cima,  Crivelli, 

Guardi,  Polidoro,  Rocco  Marconi,  Sebastiano 
del  Piombo,  Tiepolo,  Tintoretto. 

The  Presentation  of  the  Virgin.  By  Tintoretto . 

Picture  in  S.  Maria  dell  ’ Or  to , Venice. 


Index  of  Places 


157 


Rimini.  Municipio  : Giovanni  Bellini. 

Rome.  Villa  Burghese  : Antonello,  Bassano,  Bissolo, 
Bonifazio,  Caprioli,  Cariani,  Giorgione,  Licinio, 
Lotto,  Palma,  Polidoro,  Savoldo,  Titian,  Vero- 
nese. 

Capitol  : Lotto,  Palma,  Polidoro,  Rondinelli, 
Savoldo,  Tintoretto,  Titian. 

Colonna  Gallery  : Bonifazio,  Bordone,  Guardi, 
Palma,  Tintoretto,  Gir.  da  Treviso,  Veronese. 

Corsini  Gallery  : Bart,  Veneto,  Bassano,  Cari- 
ani, Rocco  Marconi. 

Doria  Gallery  : Bart.  Veneto,  Basaiti,  Becca- 
ruzzi,  Bonifazio,  Bordone,  Catena,  Lotto,  S. 
del  Piombo,  Polidoro,  Rondinelli,  Tintoretto, 
Titian. 

Farnseina  : S.  del  Piombo. 

Lateran  : Crivelli. 

Rospigliosi  Gallery:  Lotto,  Polidoro. 

Vatican:  Cariati,  Crivelli,  Titian. 

Ante-chamber  to  Pope’s  Apartments:  Bordone. 

Prince  Chigi:  Bonifazio,  Titian. 

Countess  Santa  Fiori  : Bassano. 

Miss  Hertz:  Licinio. 

Dom  Marcello  Massarenti  : Guardi,  Polidoro. 

Donna  Laura  Minghelti:  Gir.  da  Treviso. 

Sig.  del  Nero:  S.  del.  Piombo. 

S.  Maria  del  Popolo:  S.  del  Piombo. 

S.  Pietro  in  Montorio:  S.  del  Piombo. 

Rossie  Priory,  N.  B.  Lord  Kinnaird  : Bassano,  Licinio, 
Savoldo,  Tiepolo. 

Rouen.  Gallery:  Guardi. 

Saletto.  Church:  Licinio. 

San  Daniele  (near  Udine).  Duomo:  Pordenone* 

Sedrina.  Church  : Lotto. 

Serina.  Church  : Palma. 


Index  of  Places 


158 


Serravalle.  Duomo  : Titian, 

S.  Antonio  : Beccaruzzi. 

Seven  Oaks.  Lord  Amherst  : Savoldo. 

Siena.  Gallery  : Bordone. 

Palazzo  Saracini  : S.  del  Piombo. 

Spilimbergo.  Duomo  : Pordenone. 

Strassburg.  Gallery  : Basaiti,  Beccaruzzi,  Bordone,  Cariani, 
Crivelli,  Guardi,  Montagna,  Rocco  Marconi, 
Tiepolo. 

Stuttgart.  Gallery  : Basaiti,  Bassano,  Beccaruzzi,  Cariani, 
Carpaccio,  Polidoro,  Rocco  Marconi,  Rondi- 
nelli. 

St.  Petersburg.  Hermitage  : Cariani,  S.  del  Piombo. 

Susigana.  Parish  Church  : Pordenone. 

Torre  (near  Pordenone).  Church  : Pordenone. 

Toulouse.  Beccaruzzi,  Guardi. 

Tours.  Bassano,  Rocco  Marconi. 

Trent.  Castle,  Chapel,  and  Inner  Room  : Gir.  da 
Treviso. 

4-6  Piazza  Grande,  12  Via  del  Teatro:  Gir. 

da  Treviso. 


Trescorre.  Suardi  Chapel:  Lotto. 

Treviso.  Gallery:  Bordone,  Caprioli,  Lotto. 

Monte  di  Pieta:  Beccaruzzi. 

Eredi  Perrazzolo:  Beccaruzzi. 

S.  Andrea:  Bissolo. 

S.  Cristina:  Lotto. 

Duomo;  Bissolo,  Bordone,  Pordenone,  Titian. 

S.  Lucia:  Beccaruzzi. 

S,  Niccolo  : Barbari,  S.  del  Piombo,  Savoldo. 

18  Piazza  del  Duomo:  Barbari. 

Turin.  Giovanni  Bellini,  Guardi,  Tiepolo,  Tintoretto, 

B.  Vivarini. 


Index  of  Places 


159 


Udine. 

Municipio:  Tiepolo. 

S.  Maria  della  Pieta:  Tiepolo. 

Urbino. 

Ducal  Palace  : Titian. 

Casa  Albani  : Savoldo. 

Venice. 

Academy  : Antonello,  Basaiti,  Bassano,  Bee- 

caruzzi,  Gentile  Bellini,  Giovanni  Bellini, 
Jacopo  Bellini,  Bissolo,  Bonifazio,  Bordone, 
Cariani,  Carpaccio,  Catena,  Cima,  Crivelli, 

Guardi,  Licinio,  Longhi,  Montagno,  Palma 
Vecchio,  Pordenone,  Rocco  Marconi,  Sa- 
voldo,  Schiavone,  Tiepolo,  Tintoretto,  Titian, 
Veronese,  Alvise  Vivarini,  Bartolommeo 

Vivarini. 

Museo  Correr  : Basaiti,  Beccaruzzi,  Gentile 

Bellini,  Giovanni  Bellini,  Jacopo  Bellini, 

Bissolo,  Carpaccio,  Guardi,  Longhi,  Rondi- 

nelli,  Alvise  Vivarini. 

Palazzo  Ducale  : Bartolommeo  Veneto,  Bas- 
sano,  Giovanni  Bellini,  Bonsignori,  Bordone, 
Carpaccio,  Catena,  Previtali,  Tintoretto,  Titian, 
Veronese. 

Manfrin  Gallery  : Beccaruzzi. 

Quirini-Stampalia  : Beccaruzzi,  Catena,  Longhi, 
Palma,  Polidoro,  Schiavone,  Tiepolo, 

Palazzo  Reale  : Bassano,  Bonifazio,  Schiavone, 
Tintoretto,  Titian. 

Seminario  : Cima,  Giorgione,  Tiepolo,  Alvise 
Vivarini. 

Prince  Giovanelli  : Antohello,  Basaiti,  Bonifazio, 
Bordone,  Catena,  Giorgione,  Palma,  Rocco 
Marconi,  Rondinelli,  Tintoretto,  Titian. 

Lady  Layard  : Barbari,  Gentile  Bellini,  Bissolo, 
Bonifazio,  Bonsignori,  Bordone,  Carpaccio, 
Cima,  Licinio,  Montagna,  Palma,  S.  del  Pi- 
ombo,  Previtali,  Rondinelli,  Savoldo,  Alvise 
Vivarini. 


i6o 


Index  of  Places 


Venice.  (Con.)  Palazzo  Grassi  : Longhi. 

Palazzo  Labia  : Tiepolo. 

Palazzo  Rezzonico  : Tiepolo. 

S.  Alvise  : Tiepolo. 

Santi  Apostoli  : Tiepolo. 

S.  Bartolommeo  in  Rialto  : S.  del  Piombo. 

S.  Barnaba  : Veronese. 

Carmine  : Cima,  Lotto,  Schiavone. 

Scuola  del  Carmine  : Tiepolo. 

S.  Cassiano  : Rocco  Marconi,  Tintoretto. 

S.  Caterina  : Veronese. 

S.  Fantino  : Rondinelli. 

S.  Fava  : Tiepolo. 

S.  Francesco  della  Vigna  : Giovanni  Bellini, 
Veronese. 

Frari  : Barbari,  Giovanni  Bellini,  Licinio,  Tie- 
polo, Titian,  Alvise  Vivarini,  Bartolommeo 
Vivarini. 

Gesuati  : Tieoplo. 

Gesuiti  : Tintoretto,  Titian. 

S.  Giacomo  dell’  Orio  : Bassano,  Lotto,  Schia- 
vone. 

S.  Giobbe  : Bordone,  Previtali,  Savoldo. 

S.  Giorgio  Maggiore  : Carpaccio,  Tintoretto. 

S.  Giorgio  degli  Schiavoni  : Carpaccio. 

S.  Giovanni  in  Bragora  : Bissolo,  Bordone,  Cima, 
Alvise  Vivarini,  Bartolommeo  Vivarini. 

S.  Giovanni  Crisostomo  : Giovanni  Bellini,  S.  del 
Piombo. 

S.  Giovanni  Elemosinario  : Pordenone,  Titian. 

S.  Giovanni  e Paolo  : Bonsignori,  Cima,  Lotto, 
Rocco  Marconi,  Tiepolo,  Alvise  Vivarini,  Bar- 
tolommeo Vivarini. 

S.  Guiseppe  in  Castello  : Tintoretto. 

S.  Lio  : Titian. 

S.  Marco  : Gentile  Bellini. 


Index  of  Places 


161 


Venice.  (Con.)  S.  Marcuolo  : Titian. 

S.  Maria  Formosa  : Palma,  Bartolommeo  Vi- 
varini. 

S.  Maria  Mater  Domini  : Bissolo,  Catena,  Tin- 
toretto. 

S.  Maria  dell’  Orto  : Baccaruzzi,  Giov.  Bel- 
lini, Cima,  Tintoretto. 

S.  Maria  della  Pieta  : Tiepolo. 

S.  Marziale  : Tintoretto,  Titian. 

S.  Paolo  : Tintoretto. 

S.  Pietro  di  Gastello  : Basaiti. 

Redentore  : Bissolo,  Previtali,  Alvise  Vivarini. 

S.  Rocco  : Giorgione,  Pordenone,  Tintoretto. 
Scuola  di  S.  Rocco  : Tintoretto,  Titian. 
Salute*:  Basaiti,  Polidoro,  Tintoretto,  Titian, 
Girolamo  da  Treviso. 

S.  Salvatore  : Titian. 

Scalzi  : Tiepolo. 

S.  Sebastiano  : Titian,  Veronese. 

S.  Simeon  Profeta  : Catena. 

S.  Stefano  : Pordenone,  Tintoretto. 

S.  Trovaso  : Jacopo  Bellini,  Catena,  Tintoretto. 
S.  Vitale  : Carpaccio. 

S.  Zaccaria  : Giovanni  Bellini,  Tintoretto. 
Verona.  Gallery  : Bart.  Veneto,  Basaiti,  Bassano,  Gio- 
vanni Bellini,  Jacopo  Bellini,  Crivelli,  Guardi, 
Montagna,  Polidoro,  Previtali,  Tiepolo,  Titian, 
Gir.  da  Treviso,  Veronese. 

Duomo  : Titian. 

S.  Giorgio  : Veronese. 

S.  Nazaro  e Celso  : Montagna. 

S.  Paolo:  Veronese. 

Vicenza.  Gallery  : Antonello,  Bassano,  Cariani,  Cima, 
Montagna,  Tiepolo,  Tintoretto,  Veronese. 
Palazzo  Loschi  : Bassano,  Giorgione. 

Villa  Valmarana  : Tiepolo. 


162 

Index  of  Places 

Vicenza. 

(Con.)  S.  Corona  : Giovanni  Bellini,  Montagna. 
Duomo  : Montagna. 

S.  Lorenzo  : Montagna. 

Monte  Berico  : Montagna,  Veronese. 

S.  Stefano  : Palma. 

Vienna. 

Imperial  Museum  : Barbari,  Basaiti,  Bassano, 

Beccaruzzi,  Bissolo,  Bonifazio,  Bordone, 
Caprioli,  Cariani,  Carpaccio,  Catena,  Cima, 
Giorgione,  Licinio,  Lotto,  Palma,  S.  del 
Piombo,  Polidoro,  Previtali,  Savoldo,  Schia- 
vone,  Tintoretto,  Titian,  Gir.  da  Treviso, 
Veronese,  Alvise  Vivarini,  Bartolommeo 
Vivarini. 

Academy  : Bassano,  Beccaruzzi,  Caprioli,  Cari- 
ani, Polidoro,  Schiavone,  Tiepolo,  Tintoretto 
Alvise  Vivarini. 

Czernin  : Bordone,  Rocco  Marconi,  Titian. 

Harrach  Collection  : Basaiti,  Licinio,  Polidoro. 

Lichtenstein  : Canale,  Palma  Vecchio,  Savoldo. 

Viterbo. 

Weimar. 

Municipio  : S.  del  Piombo. 
Gallery  : Barbari. 

Windsor  Castle.  Canale,  Caprioli,  Alvise  Vivarini. 
Woburn  Abbey.  Bassano,  Canale,  Tintoretto. 
Wurzburg.  Archbishop’s  Palace  : Tiepolo. 

Zogno.  Church  : Cariani. 


ITALIAN  PAINTERS  OF  THE  RENAIS- 
SANCE, WITH  INDICES  TO  THEIR 
WORKS. 

By  Bernhard  Berenson. 

This  series,  three  volumes  of  which  have  already  ap- 
peared, is  an  endeavour  to  interpret  each  School  of 
Painting  in  such  a way  that  the  reader  may  be  able  not 
only  to  grasp  its  historical  development,  but  also  to  en- 
joy it  sesthetically  and  with  discrimination.  To  this  end 
the  anecdotic  element,  as  well  as  mere  information,  have 
been  carefully  avoided.  The  salient  points  of  an  his- 
torical or  aesthetical  nature  once  grasped,  the  reader  will 
find  no  difficulty  in  giving  the  proper  place  to  every  work 
by  a great  Master,  or  seeing  the  relative  importance  of 
those  second  and  third  rate  painters  of  whom  no  special 
mention  is  made,  for  the  good  reason  that  all  that  might 
be  said  about  them  is  already  comprised  in  the  account 
of  the  greater  artists. 

All  the  necessary  and  detailed  information  is  relegated 
to  the  Lists,  which  form,  in  themselves,  a directory  of 
Italian  paintings  which,  while  not  claiming  to  be  abso- 
lutely complete,  is  more  thorough  and  more  discriminat- 
ing than  any  other  whatsoever.  As  the  author  is  him- 
self a prominent  student  of  the  scientific  school  of  art 
criticism,  the  reader  can  rely,  as  on  no  other  popular 
compilation,  upon  the  attributions  and  other  data  here 
presented. 

In  brief,  the  series  aims  to  be  a thorough  presentation 
of  the  significant  elements  of  the  great  Schools  of  Italy, 
and  a detailed  Guide  to  Italian  paintings  everywhere. 

Each  volume  will  contain,  as  a frontispiece,  the  repro- 
duction of  some  rare  work  peculiarly  characteristic  of 
the  School. 


G.  P.  PUTNAM’S  SONS,  New  York  and  London. 


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